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A  CATALOGUE  OF 
Manuscripts  comprising 
a  portion  of  the  Library  of 
Robert  Hoe  New  York  1909 


& 


4  5 


/ 1 


CATALOGUE   OF 
MANUSCRIPTS 


ONE  HUNDRED  COPIES  ONLY  OF  THIS 
CATALOGUE  HAVE  BEEN  PRINTED 
UPON  IMPERIAL  JAPAN  PAPER  BY 
THE  UNIVERSITY  PRESS,  CAMBRIDGE 


A 

Catalogue  of  Manuscripts 

Forming  a  Portion  of  the  Library 

Of  Robert  Hoe 


Privately   Printed 
New  York       .       1909 


/44i7 


c^Ct 


w^  m  ^HE  present  volume  is  the  sixteenth  and  last  of  the 
m        catalogues  describing  the  library  of  the  late  Robert 
JL        Hoe,  and  was  finished  afler  his  death  in  London, 
on  September  twenty-second. 

This  portion  of  the  library  is  one  of  the  richest  and  most 
interesting,  including  over  two  hundred  and  fifty  manuscripts, 
ecclesiastical  and  classical,  illmstrating  the  art  of  the  calli- 
grapher,  the  illuminator,  and  the  miniaturist  from  about  1200 
to  the  present  time.  More  than  half  of  the  number  were 
executed  before  1600. 

Among  the  seventy  five  "  Horce  "  of  French,  Flemish, 
Dutch,  Italian,  and  English  workmanship,  dating  from  about 
1365  to  1537,  are  the  famous  ''Pembroke  Hours"  executed 
in  England  about  144-0,  presumably  for  William  Herbert, 
first  Earl  of  Pembroke,  containing  almost  five  hundred  and 
fifty  exquisitely  painted  miniatures;  also  "  Hours  "  made  for 
Anne  de  Beaiijeu,  daughter  of  Louis  XI,  for  Margaret  of 
Anjou,  wife  of  Henry  VI  of  England,  for  Louis  XII  and 
his  first  wife,  Anne  de  Bretagne,  and  for  Maximilian  I,  as  a 
gift  to  his  grandson,  Charles  I  of  Spain  and  V  of  Gei'many. 
The  superb  "  Missel  de  Charles  F/,"  xmth  over  five  hundred 
^y  paintings,  is  also  in  this  collection. 

\      Almost  without  exception  the  manuscripts  ai^e  in  immaculate 
'   condition,  as  fresh  and  pure  as  when  they  left  the  hands  of 
V  Sdibe  and  illuminator. 

Acknowledgment  is  due  to  Dr.  A.  V.  WilliaTns  Jackson 
^  and  Dr.  Abraham  Yohannan,  of  Columbia  University,  for 
"^  their  kind  assistance  in  the  description  of  the  thirty-eight 
oriental  manuscripts. 

C.  S. 


1 


415509 


THIS   CATALOGUE   WAS   COMPILED 
BY    CAROLYN   SHIPMAN 


I 

EUROPEAN   MANUSCRIPTS   PREVIOUS 
TO    1600 


THE     CATALOGUE 


iELIANUS  AND   ONOSANDER. 

In  hoc  Codice  continentur  Helianus  [Claudius  JSlIanus] 
de  Instruendis  Aciebus  [Theodoro  Gaza  interprete]  et 
[folio  42]  Onosander  de  Optimo  Imperatore  [Nicolao  Secun- 
dino  interprete.  Ante  1490].  Folio,  original  brown  morocco, 
blind-tooled  in  a  Medicean  design,  gaujjred  gilt  edges. 

A  beautiful  and  curious  Italian  manuscript  of  translations  from 
Greek  into  Latin  of  two  works  of  iElianus  and  Onosander,  written  in 
roman  characters  upon  fine  vellum  in  the  fifteenth  century  for  King 
Matthias  Corvinus  of  Hungary  (1443-58-90),  the  famous  warrior  and 
bibhophile,  whose  illuminated  arms  are  in  the  border  at  the  foot  of 
folio  2  recto.     287  X  215  mm. 

It  contains  83  leaves,  with  26  lines  to  the  page.  The  illuminations 
consist  of  2  beautiful  scroll  borders  (folios  2  and  4)  in  white,  blue,  and 
green,  painted  in  the  Italian  manner  of  the  period,  4  large  scroll  initials 
of  similar  design,  and,  in  the  first  work,  31  military  diagrams  in  blue, 
red,  green,  and  burnished  gold,  2  historiated  initials  representing  a 
warrior  and  a  battle-scene,  and  45  other  small  illuminated  initials.  The 
title,  which  is  on  the  verso  of  folio  1,  is  written  in  gold  within  a  rose- 
coloured  wreath  border  outlined  with  gold.  The  headings  to  the  two 
works  and  their  prefaces  are  in  letters  of  gold ;  the  other  headings  are 
in  red. 

.ESOPUS. 

[First  page]  Argumentu  fabulav  ^fopi  e  greco  in  latinum. 
[Colophon]  Vita  iEfopi  per  Vynutum  thettalu  tradutta. 
Veru  qm  ab  eo  nonuUa  fuerut  prset'  miffa.  fortaffise  9^ 
grsecu    ei^   codex  eet   mm^   emedata     Ego  bonus  accurli^ 


2  ANSELMUS  —  ANTIPHONARIUM 

prfan9  eadem  mea  ofiiia  correxi .  et  emandam.  Deo  gras. 
pro  me  R  .  .  Lemaczoy.  [Ssec  XV].  8i;o,  original  stamped 
calf  circuit  binding,  with  brass  clasps. 

An  Italian  (?)  manuscript  of  a  Latin  translation  of  ^Esop's  Fables 
written  in  gothic  characters  upon  paper  in  the  latter  part  of  the  fifteenth 
century.     188X119  mm. 

There  are  80  pages,  with  13  lines  to  the  page,  and  initials  and  head- 
ings in  red  and  blue  ink. 

ANSELMUS,  St.  —  See  Ephraem. 

ANTIPHONARIUM.    S^c.   XV. 

SvOy  brown  levant  morocco,  sides  blind-tooled  in  panels, 
ornaments  on  the  back,  vellum  linings,  gilt  edges,  by  Cham- 
bolle-Duru.  In  a  wrapper  elaborately  worked  in  rose  silk 
thread. 

A  French  Antiphoner  written  in  gothic  characters  upon  vellum  about 
the  middle  of  the  fifteenth  century.    164  X  107  mm. 

It  contains  139  leaves,  with  21  lines  to  the  page,  the  text  being  ac- 
companied by  musical  notation  written  upon  a  staff  of  red  lines.  Folio 
129  is  blank. 

There  are  5  large  and  2  small  miniatures,  all  but  one  within  archi- 
tectural borders  of  shaded  gold,  blue,  and  red,  12  full-page  borders  of 
foliage  and  scrolls  painted  in  blue,  red,  and  burnished  gold,  and  nu- 
merous simple  lateral  borders  of  blue  and  white  heightened  with  bur- 
nished gold  accompanying  some  of  the  initial  letters,  of  which  there 
are  173  in  blue,  red,  and  green  on  a  ground  of  burnished  gold. 

The  subjects  of  the  miniatures  are  1.  (F.  1  v.)  The  Presentation  in 
the  Temple;  a  group  of  seven  persons.  2.  (F.  26  v.)  The  Betrayal. 
3.  (F.  88  V.)  The  Last  Supper.  4-6.  (F.  118  v.)  Three  miniatures  in 
compartments,  the  two  small  ones  at  the  top  representing  the  Mar- 
tyrdom of  St.  Agnes  and  the  Scourging  of  St.  Catherine,  the  largest  one, 
at  the  bottom,  the  Beheading  of  St.  Catherine.  7.  (F.  130  r.)  The 
Mass  of  St.  Gregory. 

At  the  foot  of  the  border  on  folio  2  are  the  arms  of  the  original  owner 
painted  in  gold  and  colours. 


ANTIPHONARIUM  — ARTE   DELO    BEN   MORIRE        3 

ANTIPHONARIUM.     1541. 

Folio,  original  stamped  leather  binding  {rebacked)  over 
oak  hoards,  with  brass  bosses,  comers,  clasps,  and  feet. 

A  Flemish  Antiphoner  beautifully  executed  upon  236  leaves  of  vellum 
in  1541,  according  to  the  date  in  the  border  on  folio  115  verso.  On  each 
page  are  12  bars  of  music  with  accompanying  words.    426  X  300  mm. 

Throughout  the  text  are  18  historiated  initials,  varying  in  size  from 
54X52  to  90X90  mm.,  some  of  them  accompanied  by  brilliant  borders 
of  flowers,  birds,  insects,  etc.,  painted  upon  a  yellow  ground,  in  the 
Flemish  manner.  The  text  and  music  are  ornamented  with  many 
small  drawings  of  heads  and  masques  cleverly  executed  with  a  pen. 
In  the  border  at  the  foot  of  folio  4  recto  are  three  coats-of-arms,  one  of 
which  is  repeated  on  folio  115  verso. 

The  subjects  of  the  miniatures  include  the  Virgin  crowned  and  read- 
ing a  book,  the  Annunciation,  the  Nativity,  the  Adoration  of  the  Magi, 
the  Resurrection,  the  Ascension,  the  Descent  of  the  Holy  Spirit,  King 
David  praying,  the  Coronation  of  the  Virgin,  the  Martyrdom  of  St. 
John  the  Baptist,  St.  Martin,  St.  Catherine,  St.  Andrew  walking  on  the 
water,  St.  Paul  on  the  road  to  Damascus,  Jacob's  Ladder,  and  the 
Assumption  of  the  Virgin.  The  miniatures  are  delicately  painted  in 
brilliant  colours,  the  initial  portion  being  in  camaieu  d^or  on  a  ground  of 
rose. 

ARTE   DELO   BEN  MORIRE. 

[Folio  1  verso]  Incomincia  lo  prolo^ho  del  arte  delo  ben 
morire  traducto  in  vulgare  sermone  da  luniano  Maio  a  lo 
inclito  signiore  misser  Pasquale  Diag  Garlon  Regio  Castel- 
lano  Dignissimo.  [Folio  16  recto]  Incomincia  lo  prohemio 
de  larte  del  ben  morire  compofto  da  frate  Alberto  magno 
de  lordine  de  predicatori.  epifcopo  Retifponenfe.  In  nome 
de  la  fancta  &  indiuidua  trinita.  Amen.  [Folio  35  recto] 
Finifce  lo  tractato  dellarte  del  bene  morire.  Lauf  deo. 
Amen.  loannef  marcuf  Cynicuf  xpi  et  honeftatis  famul* 
Tribuf  et  Quinquaginta  horis  exfcripfit.    [Ssec.  XV.] 

Folio,  old  red  morocco,  the  arms  of  Cardinal  Barberini 
(1627-1671)  in  gold  on  both  covers,  gilt  edges. 


4  ARTE    DELO    BEN   MORIRE 

Italian  translations  of  Ars  Manendi  by  Juniano  Maio  and  of  "De 
Arte  bene  moriendi"  by  Albertus  Magnus,  beautifully  written  in  roman 
characters  upon  vellum  during  the  latter  part  of  the  fifteenth  century 
in  Naples,  where  Maio  was  professor  of  Belles-Lettres.    277  X 198  mm. 

It  consists  of  35  leaves,  with  30  lines  to  the  page.  Folio  4  is  blank. 
There  are  11  full-page  sepia  drawings  enclosed  in  red  borders  and  1 
small  circular  drawing,  "Ultimum  Terribilium,"  on  the  verso  of  folio  1. 
This  is  surrounded  by  a  gold  border,  like  the  heading  to  the  Prologue 
above  it,  which  is  written  in  letters  of  burnished  gold. 

On  folio  2  recto  is  an  inside  border  of  flowers  and  foliage  painted  in 
the  Italian  manner  in  colours  heightened  with  gold,  and  at  the  foot  of 
the  page  are  the  illuminated  arms  of  Pasquale  Dia9  Garlon,  to  whom 
the  translation  is  dedicated.  In  the  text  are  5  large  initial  letters  of 
burnished  gold  on  a  ground  of  scrolls  in  white,  red,  blue,  and  green, 
and  44  smaller  capitals  in  gold  on  a  decorated  ground  of  red  and   blue. 

The  subjects  of  the  large  drawings  are  1.  (5  v.)  "Tentatione  diabolica 
contra  la  fede;"  a  dying  man  is  surrounded  by  a  king,  a  queen,  saints, 
and  four  devils,  bearing  scrolls  with  inscriptions  in  red,  "Infemus 
factus  est,"  "Fac  sicut  pagani,"  "Interficias  te  ipsum."  2.  (F.  6  v.) 
"La  bona  inspiratione  de  lo  angelo  de  la  fede;"  an  angel  stands  beside 
the  dying  man,  with  a  scroll,  "Sis  firmus  in  fide,"  crouching  at  the  foot 
of  the  bed  are  devils  bearing  scrolls, "  Victi  sumus,"  "  Frustra  laboravim', " 
"Fugiamus."  3.  (F.  7  v.)  "Tentatione  diabolica  de  la  desperatione ; " 
the  dying  man  is  accompanied  by  six  devils  with  the  scrolls,  "Ecce 
peccata  tua,"  "Perversus  es,"  "Fomicatus  es,"  etc.  4.  (F.  8  v.)  "La 
bona  inspiratione  de  lo  Angelo  contra  la  desperatione;"  the  dying  man, 
an  angel,  the  crucified  Christ,  St.  Mary  Magdalene,  St.  Peter,  and  a 
cock  perched  on  the  bed-post.  5.  (F.  9  v.)  "Tentatione  diabolica  della 
Impatientia ; "  a  fiend  is  crouching  near  an  overturned  table  while  the 
invalid  is  kicking  one  of  his  three  servitors.  6.  (F.  10  v.)  "Bona  inspira- 
tione de  lo  angelo  de  la  patientia;"  the  dying  man,  quieted  by  an  angel, 
is  surrounded  by  Christ,  St.  Sebastian,  St.  Barbara,  St.  Laurence,  St. 
Catherine,  and  St.  Stephen.  7.  (F.  11  v.)  "Tentatione  diabolica  de  la 
vana  gloria;"  devils  present  the  dying  man  with  crowns.  8.  (F.  12  v.) 
"Bona  inspiratione  de  lo  angelo  contra  la  vanagloria."  9.  (F.  13  v.) 
"Tentatione  diabolica  de  avaritia;"  fiends  offer  the  dying  man  wine- 
cellars,  horses,  and  other  possessions.     10.  (F.  14  v.)     "Bona  inspira- 


AUGUSTINUS  — BIBLIA    SACRA    LATINA  5 

tione  de  langelo  contra  la  avaritia."  11.  (F.  16  v.)  The  dead  man 
surrounded  by  the  crucified  Christ,  saints,  and  fiends  bearing  the  legends, 
"Heu  insanio,"  "Spes  nobis  nulla,"  "Confusi  sumus,"  etc. 

All  of  the  drawings  are  beautifully  executed  and  are  identical  with 
the  xylographic  engravings  in  some  of  the  printed  editions  of  the  Ars 
Moriendi. 

The  manuscript  belonged  formerly  to  the  Baron  de  La  Roche  Lacarelle. 

AUGUSTINUS,   St.     See  Ephraem. 

BEDA. 

Opusculum  venerabilis  Bede  prefbiteri  in  librum  Actuii 
Apoftolorum,  cum  Expositione  de  Nominibus  Locorum; 
et  Expositio  in  septem  Epistolas  Canonicas,  cum  Prologis 
S.  Hieronymi.  [Ssec.  XIV].  Folio,  oak  boards  covered  with 
undressed  deer-skin  with  the  hair  left  on  it.  There  are  four 
brass  bosses  in  the  corners  of  the  front  cover  and  a  leather 
clasp. 

An  English  manuscript  of  Bede's  Commentaries  on  the  Acts  of  the 
Apostles  and  on  the  Seven  Canonical  Epistles  written  in  Latin  in  the 
fourteenth  century  in  gothic  characters  on  parchment.    337  X  220  mm. 

There  are  101  leaves,  with  36  lines  to  the  double  columns  on  each 
page.  The  illuminations  consist  of  10  large  initial  letters  in  red  and 
green  and  3  half-page  borders  of  double  bands  of  red  with  ornaments 
in  green,  and  vice  versa. 

The  second  part  of  the  work  begins  on  folio  34,  "Incipit  prologuf  fci 
ieronimi  prefbiteri  fup  feptem,  eplas  canonicaf." 

BERNARDUS,   St.     See  Ephraem. 

BIBLIA  SACRA  LATINA.     S^c.   XIII. 

Small  folio,  old  French  red  morocco,  gilt  edges.  In  a 
modern  brown  levant  morocco  case. 

A  very  beautiful  manuscript  of  the  Vulgate,  with  St.  Jerome's  prefaces, 
written  in  small  distinct  gothic  characters  upon  the  purest  and  finest  of 
Itj  lian  vellum,  probably  soon  after  1200.     258  X  185  mm. 


6  BIBLIA   SACRA   LATINA 

It  contains  446  leaves,  with  two  columns  to  the  page,  and  51  lines  to 
the  column.  On  folios  415-446  is  a  Latin  glossary  of  Hebrew  names. 
There  are  131  initial  letters  painted  in  colours  on  a  ground  of  burnished 
gold,  of  which  76  are  historiated,  containing  figures  in  French  costumes 
of  the  period.  All  of  the  books  except  the  Psalms  have  running  head- 
lines in  blue  and  red,  and  there  are  hundreds  of  initial  letters  in  red  with 
marginal  tracery  in  blue. 

This  manuscript  is  said  to  have  been  in  the  possession  of  King  Louis 
IX  of  France  (St.  Louis,  1215-26-70),  at  Aigues-Mortes  in  1248,  just 
before  his  departure  for  Egypt  and  the  Holy  Land  on  his  first  Crusade. 
It  would  be  difficult  to  find  a  more  perfect  example  of  its  kind. 

BIBLIA  SACRA  LATINA.    S^c.  XIII. 

8vo,  dark  brown  levant  morocco,  tooled  in  leaf-sprays  in 
the  comers  of  the  sides  and  on  the  back,  doubled  with  light 
brown  morocco  having  borders  of  thistles  and  conventional 
foliage,  vellum  guards,  gilt  edges,  by  Mercier.  In  a  brown 
levant  morocco  case. 

A  manuscript  of  the  Vulgate  beautifully  written  in  small,  distinct  gothic 
characters,  two  columns  to  the  page,  upon  the  thinnest  vellum,  in  the 
thirteenth  century.     158  X  104  mm. 

There  are  653  leaves,  the  last  57  containing  a  glossary  of  proper 
names ;  48  lines  to  the  page.  Folios  268  and  296,  preceding  and  following 
the  Psalms,  are  blank.  Folio  1,  on  which  begins  the  Epistle  of  St.  Jerome, 
has  an  historiated  initial  containing  a  miniature  of  that  saint,  to  which  is 
attached  a  lateral  border  in  colours  with  ornaments  at  the  top  and  bottom. 
On  the  first  page  of  Genesis  (folio  5)  is  a  lateral  border  containing  7 
small  oval  miniatures  of  three-quarter  figures.  Throughout  the  manu- 
script are  numerous  historiated  and  ornamental  initials  similarly  painted, 
with  extensions  forming  borders,  besides  hundreds  of  smaller  initials  in 
blue  and  red,  with  marginal  flourishes  and  scrolls.  The  chapters  are 
numbered  in  red  and  blue  ink  and  there  are  similar  running  head-lines 
to  all  of  the  books  except  the  Psalms. 

The  manuscript  was  formerly  in  the  collection  of  the  Duke  of  Sussex. 

BIBLIA  SACRA  LATINA.     S^c.  XIII. 

Mo,  old  flexible  rough  leather  binding,  gauffred  gilt  edges. 
In  a  modem  case  of  maroon  levant  morocco. 


BIBLIA    SACRA    LATINA  7 

A  beautiful  Italian  manuscript  of  St.  Jerome's  version  of  the  Bible, 
with  prefaces,  written  in  minute  gothic  characters,  two  columns  to  the 
page,  upon  very  fine  vellum  at  Cremona,  about  1275,  by  Viviani  Sani.  It 
is  perhaps  unique  in  containing  both  the  name  of  the  scribe  and  the  place 
of  execution.    240  X  162  mm. 

There  are  350  leaves,  with  60  lines  to  each  of  the  two  columns  on  the 
page.  Scattered  throughout  the  volume  are  56  historiated  initials  and  50 
other  capitals  painted  in  brilliant  colours  and  burnished  gold. 

The  first  initial  (folio  1)  represents  St.  Jerome  writing,  and  is  accom- 
panied by  an  elaborate  border.  Above,  in  gold  letters,  occurs  the  word 
"Cremona."  On  folio  3  verso  is  a  still  more  ornamental  initial,  in  eight 
compartments,  the  one  at  the  foot  containing  the  Creation  of  Eve,  the 
Temptation,  and  the  Expulsion  from  the  Garden,  the  one  at  the  top  God 
the  Father,  the  intervening  ones  representing  the  Creation  of  the  first  six 
days.  Along  the  margin,  in  gold  letters,  is  the  name  of  the  artist,  "Viviani 
Sani." 

The  running  head-lines  and  chapter  numbers  on  the  margins  are  in 
blue  and  red,  except  in  Job,  the  Psalms,  Ecclesiastes  (folios  148-197)  and 
the  New  Testament  (folio  277  et  seq.),  where  they  are  in  blue  and  gold, 
with  elaborate  marginal  decorations  finished  in  red.  On  folios  275  verso 
and  276  recto  and  verso,  separating  the  Old  and  New  Testaments,  are 
architectural  paintings  of  pillars  in  red,  blue,  brown,  and  green. 

BIBLIA  SACRA  LATINA.    S^c.  XIV. 

Folio,  dark  brown  levant  morocco,  the  sides  tooled  in  fillets 
and  corner  ornaments  of  scrolls,  the  back  in  scrolls  and  Greek 
crosses,  doubled  with  light  brown  morocco  with  borders  of 
fillets  and  scrolls,  vellum  guards,  gilt  edges,  by  Mercier.  In 
a  brown  levant  morocco  case. 

A  beautiful  fourteenth  century  manuscript  of  the  Vulgate  written  with 
great  perfection  of  execution  in  small  gothic  characters  upon  vellum,  and 
arranged  in  two  columns.    227  X  195  mm. 

It  contains  482  leaves,  with  50  lines  to  the  column,  preceded  by  a  leaf 
containing  the  order  of  the  books  in  the  Old  Testament,  which  ends  with 
folio  362.  Folios  453-482  contain  a  glossary  arranged  with  four  col- 
umns to  the  page. 


8  BIBI.IA    SACRA    LATINA 

There  are  102  finely  executed  historiated  initials  painted  in  colours, 
chiefly  red  and  blue,  to  35  of  which  are  attached  borders  of  scrolls,  gro- 
tesques, etc.,  of  half-page  or  full-page  length.  The  initial  letter  "I"  at 
the  beginning  of  Genesis  (folio  4)  extends  the  length  of  the  page  and 
contains  8  small  miniatures,  7  of  the  Creation,  the  last  of  the  Crucifixion, 
the  Virgin  Mary  and  St.  John  the  Evangelist  being  at  the  foot  of  the 
Cross.    Some  of  the  other  initials  contain  from  3  to  5  miniatures. 

All  of  the  books  except  the  Psalms  have  running  head-lines  in  blue 
and  red,  and  throughout  the  volume  are  numerous  large  and  small  initial 
letters  in  the  same  colours,  with  marginal  flourishes. 

It  originally  formed  part  of  the  collection  of  the  Duke  of  Sussex. 

BIBLIA  SACRA  LATINA.     Sjec.  XV. 

Veteris  Novique  Testamenti  Libri  Omnes  in  dono  accepi 
ab  111"^°  ac  Rev'^*'  Viro  D.  G.  Vicecomiti.  4to,  old  red  mo- 
rocco, gilt  edges. 

An  Italian  manuscript  of  St.  Jerome's  translation  of  the  Bible,  written 
upon  vellum  in  gothic  characters,  two  columns  to  the  page,  in  the  fif- 
teenth century,  for  a  member  of  the  Visconti  family,  who  were  Dukes  of 
Milan.    334  X  332  mm. 

There  are  679  leaves  (43  lines  to  the  page),  of  which  folios  634-679 
contain  a  glossary  of  the  Hebrew,  Chaldaic,  and  Greek  words. 

The  first  leaf  is  an  illuminated  title-page  of  later  date  than  the  manu- 
script itself,  containing  an  architectural  border,  from  the  top  of  which 
hangs  a  red  scroll  with  the  title  in  gold  letters.  Below  are  the  Visconti 
arms  in  colours  and  gold,  surmounted  by  a  crown  and  supported  by  two 
angels. 

Folio  2  has  a  border  painted  in  colours  outlined  with  gold,  and  contain- 
ing on  the  outer  margin  three  medallions  of  Christ.  At  the  bottom  are 
the  Visconti  arms.  Throughout  the  volumes  are  114  ornamental  and 
historiated  initials  with  floral  appendages  on  the  margins.  On  folio  6 
between  the  two  columns  of  text  are  7  miniatures  representing  the  Crea- 
tion; below  is  the  Crucifixion.  The  initial  letters  on  folios  500,  518,  564, 
and  565  are  larger  than  the  others,  and  in  the  last  two  instances  are  de- 
veloped into  borders.  Almost  every  page  contains  a  small  initial  letter 
in  red  or  blue,  with  scroll  ornamentation.  The  composition  of  the 
paintings  is  quaint  and  mediaeval  in  style. 


BOCCACCIO  — BONAVENTURA  9 

As  usual  the  volume  begins  with  the  Epistle  of  St.  Jerome,  and  each 
of  the  1,334  chapters  into  which  it  is  divided  is  preceded  by  a  prologue 
on  the  author  or  on  the  book  itself.  The  chapter  numbers  and  running 
head-lines  are  in  blue  and  red,  and  on  the  wide  margins  are  variants  in 
small  gothic  letters.  The  arrangement  of  versification  antedates  that  of 
Robert  Estienne,  1525-59. 

BOCCACCIO,   Giovanni. 

De  la  Ruyne  des  nobles  Hommes  et  Femmes,  translate 
de  latin  en  francais.  XV  Siecle.  Large  folio,  brown  levant 
morocco  blind-tooled  in  fillets,  gilt  edges. 

A  French  manuscript  of  the  French  translation  of  Boccaccio's  "Fall 
of  Princes,  Princesses,  and  other  Nobles,"  written  in  gothic  characters 
in  two  columns  upon  vellum  during  the  reign  of  Charles  VII  (1422-61). 
357  X  265  mm. 

There  are  230  leaves,  with  42  lines  to  each  of  the  two  columns  on  the 
page.  The  manuscript  ends  with  the  beginning  of  Chapter  XXVII  of 
Book  VIII ;  Book  IX,  containing  thirty-eight  chapters,  is  lacking. 

The  illuminations  consist  of  93  miniatures  (about  90  X  75  mm.)  en- 
closed in  line  borders  of  gold  and  colours ;  at  the  sides  are  borders  (about 
150  mm.  in  length)  of  flowers  and  scrolls  in  colours  and  gold,  also  many 
illuminated  initials.  The  paintings  are  somewhat  crude  in  execution,  but 
interesting  as  depicting  the  quaint  costumes  of  the  period. 

This  volume  is  a  typical  example  of  the  rare  early  manuscripts  of  sec- 
ular character.    It  was  formerly  in  the  collection  of  the  Duke  of  Orleans. 

BONAVENTURA,  St.,  Cardinal  and  Bishop  of 
Albans. 

Psalterium  Beatse  Marlae  Virginis  A  Sancto  Bonauentura 
S.  R.  E.  Cardinal!  Epifcopo  Albanenfi  compofitum.  [Ssec. 
XVI-XVII].  12 wo,  black  morocco  tooled  in  panels,  silver 
clasps,  gilt  edges.    In  a  case  of  green  levant  morocco. 

A  fine  Italian  Psalter  written  upon  vellum  at  the  end  of  the  sixteenth 
or  the  beginning  of  the  seventeenth  century,  in  roman  letters  of  black  and 
gold  within  gold  line  borders.    142  X  85  mm. 


10  BOWYER 

It  contains  115  leaves,  including  a  title-page,  and  has  18  lines  to  the 
page.  There  are  6  fine  full-page  and  2  small  miniatures,  besides  3  vi- 
gnettes beautifully  painted  by  Federigo  Barocci  (Baroccio)  of  Urbino 
(d.  1612).  The  title  is  written  in  black  and  gold  letters,  with  a  miniature 
at  the  foot  representing  the  Virgin  and  Child  enthroned  in  a  Corinthian 
niche  in  the  base  of  which  is  a  coat-of-arms ;  a  hilly  landscape  in  the 
background.  At  the  end  of  the  Preface  (F.  6  r.)  is  the  second  small  minia- 
ture, dancing  angels  encircling  a  woman  playing  a  lyre.  The  border  is  in 
the  form  of  a  gold  frame  at  the  top  of  which  are  two  angels  holding  a 
crown  and  a  wreath  of  laurel ;  at  the  foot  are  two  peacocks  and  another 
laurel  wreath. 

The  subjects  of  the  full-page  miniatures  are  1.  (F.  1  v.)  St.  Bona- 
venture  writing  in  his  cell,  two  angels  hovering  above  the  open  door. 
2.  (F.  6  v.)  The  Birth  of  the  Virgin;  Anna  attended  by  five  women.  3. 
(F.  96  V.)  The  Annunciation.  4.  (F.  104  v.)  The  Assumption  of  the 
Virgin;  the  twelve  Apostles  surrounding  the  tomb.  5.  (F.  Ill  v.)  The 
Virgin  and  Child  enthroned  upon  a  temple,  which  is  upheld  by  two  an- 
gels ;  below  is  a  sail-boat  nearing  land.  6.  (F.  115  r.)  St.  Francis  of  Assisi 
kneeling  in  prayer  before  a  crucifix.  On  folios  96  r.,  Ill  r.,  and  114  v. 
are  culs-de-lampe  of  geometrical  form  painted  in  shaded  gold  on  a 
blue  ground.    All  of  the  illuminations  are  beautifully  executed. 

This  manuscript  was  presented  by  Pope  Alexander  VII  (1655-67)  to 
Queen  Christina  of  Sweden,  who,  at  the  time  of  her  death,  gave  it  to  her 
chaplain. 

BOWYER.   William. 

Heroica  Eulogia  Guiliel.  Bowyeri  Reg.  maieft.  archiuov 
infra  Turrem  Londinenf.  Custodis.  Ad  illustriss.  Rob. 
Comit.  Leigresceftrens.  Venit  Veritas  interdum  in  luce  non 
qusefita,  1567.  Folio,  pigakin  stamped  in  scrolls,  borders  and 
panels  of  conventional  roses,  vellum  linings,  gilt  edges,  by  The 
Club  Bindery. 

An  English  manuscript  written  in  roman  characters  (text)  and  script 
(notes)  upon  141  fine  vellum  leaves  during  the  latter  part  of  the  sixteenth 
century.     Folios  4,  5,  10,  48,  110,  and  118  are  blank.     329  X  245  mm. 

The  title  is  written  in  letters  of  blue,  shaded  gold,  red,  and  silver,  and 
there  are  15  large  paintings  and  23  large  illuminated  coats-of-arms. 


BREVIARIUM   ROMANUM  11 

The  subjects  of  the  large  miniatures  are  1.  (F,  23)  Henry  IV  (147  X 
152  mm.)  clad  in  armour  and  receiving  a  crown  from  a  hand  issuing  from 
a  cloud.  2.  (F.  29)  A  full-page  painting  of  Edward  I  in  a  triumphal 
car  drawn  by  two  horses,  "Justa  causa"  and  "Sana  Conscientia."  At 
his  feet  are  Duns  Scotus  and  Wallace,  behind  him  is  a  woman  playing  a 
harp  while  the  Pope  is  thrown  on  his  back  over  the  edge  of  the  car. 
"  Magnanimitas "  and  "  Politia"  are  astride  the  horses,  "Belli  necessa- 
ria"  and  "  Labor  in  defessus "  run  beside  them.  3.  (F.  36)  Henry  V  in 
armour  upon  a  richly  caparisoned  horse,  approaching  a  tower  in  which 
stands  an  angel  blowing  two  trumpets.  4,  (F.  44)  Edward  II  standing 
beside  a  stream  through  which  wades  "Fortunae  Volubilitas"  bearing 
a  scourge  and  a  crown.  5.  (F.  76)  Edward  III  in  armour,  standing 
upon  a  lion  and  a  unicorn,  in  his  right  hand  a  globe,  "Michi  terra," 
in  his  left  a  ship,  "Mareque."  6.  (F.  93)  Henry  III  in  armour,  one  foot 
in  a  stream,  one  on  a  firebrand,  three  naked  women  approaching  him. 
Above  him  is  the  legend,  "Regnandi  maxime  peritus."  7.  (F.  99)  Rich- 
ard II  crowned  by  the  Archbishop  of  Canterbury,  and  attended  by 
Henry  Bowet,  Bishop  of  Bath;  at  his  feet  an  acolyte  scatters  incense. 
(190X155).  8.  (F.  103)  "De  monacho  libidinoso,"  —  an  abbess 
boxing  a  monk's  ears.  9.  (F.  109)  Henry  VI.  10.  (F.  Ill)  "De  Episcopo 
securo"  —  a  Bishop  blessing  a  suppliant.  11.  (F.  119)  Edward  IV  in 
royal  robes  receiving  a  crown  from  an  angel.  12.  (F.  127)  "DeAbbate 
Ingluvioso,"  —  an  abbot  seated  before  a  lectern,  singing,  his  left  hand 
on  a  pig  lying  in  a  salver.  13.  (F.  130)  "De  fratre  hypochritico,"  —  a 
monk  discarding  his  garb  and  revealing  himself  in  the  dress  of  a  gal- 
lant. 14.  (F.  136)  "De  monacho  avaro,"  —  a  monk  covetously  meas- 
uring a  piece  of  ground  with  a  farmer.  15.  (F.  141)  A  beautifully 
drawn  map  of  the  British  Isles  painted  in  green  and  blue,  heightened 
with  gold. 

The  paintings  in  this  volume  are  rude  in  design  and  execution,  but 
brilliant  in  colouring.  The  manuscript  is  an  interesting  historical  docu- 
ment of  the  revolt  against  Catholicism  during  the  reign  of  Queen  Eliza- 
beth. 

BREVIARIUM  ROMANUM.    S^c.  XIV. 

Small  4to,  original  calf  with  corner-pieces ,  bosses  and  four 
clasps  of  brass  attached  to  leather  pieces,  two  on  the  side,  one 
at  the  top,  and  one  at  the  bottom. 


12  BURY  — CiESAR 

An  Italian  Breviary  beautifully  written  upon  fine  vellum  in  large  and 
small  gothic  characters  in  the  fourteenth  century.  It  is  rubricated  and 
is  arranged  in  two  columns.    144  X  113  mm. 

Folios  i-x  and  1-548,  divided  into  1.  Calendar,  folios,  i-vi;  Tables, 
vii-ix.  Folio  x  blank.  2.  "  Psalterium, "  ff.  1-110.  3.  "Brevarium  Ro- 
manum  (Proprium  de  Tempore"),  ff.  111-340.  4.  " Festivitates  Sancto- 
rum (Proprium  de  Sanctis"),  ff.  341-495.  5.  "Commune  Sanctorum," 
ff.  496-531.  6.  "Orationes  in  diversibus  festis,"  ff.  532-544  r.  7.  "Psal- 
terium divi  Hieronimi,"  ff.  544  V.-548.  The  volume  is  evidently  the  work 
of  several  scribes,  the  end  (from  the  second  column  of  folio  538  recto) 
being  in  cursive  characters. 

There  are  15  large  initials,  ornamental  and  historiated,  painted  in  gold 
and  colours,  and  hundreds  of  small  initials  in  red  and  blue,  with  scroll 
ornamentation  in  the  margins. 

BURY,   Richard   de. 

[Philobiblon]  [Colophon]  Explici :  phylobyblon  Rychardi 
de  Bury  epi.  de  amoe  librov  &  fciav.  Deo  gras.  [Ssec. 
XIV].    Small  4/0,  vellum  wrappers^  uncut  edges. 

An  English  manuscript  written  in  gothic  characters  upon  44  vellum 
leaves,  with  24  lines  to  the  page,  presumably  in  the  last  part  of  the  four- 
teenth century.    145  X  105  mm. 

The  initial  letters  are  in  red  ink. 

Early  manuscripts  of  this  work  are  to  be  found  in  the  British  Museum 
and  the  Bibliotheque  Nationale. 

C^SAR,   Caius   Julius. 

Livre  de  Julius  cefar.  [XV  Siecle].  Large  folio ,  blue 
levant  morocco  blind-tooled  in  panels  in  an  Aldine  desigUy  gilt 
edges,  by  Chambolle-Duru. 

A  French  manuscript  of  a  History  of  Julius  Caesar  written  upon 
paper,  in  lettres  bdfardes,  two  columns  to  the  page,  during  the  first  half 
of  the  fifteenth  century.     308  X  291  mm. 

It  consists  of  227  leaves,  the  first  3  of  which  contain  the  Table  of  Con- 
tents, with  42  lines  to  each  column.  Folios  4,  5,  and  6  are  blank.  At  the 
top  of  folio  7  recto  is  a  miniature,  painted  in  camaieu  d'or,  (110  X  190 


CASA  —  CICERO  13 

mm.)  representing  Caesar  clad  in  armour,  with  a  blue  robe  over  his  shoul- 
ders, in  his  right  hand  an  uplifted  sword,  in  his  left  a  scroll ;  he  stands 
under  a  curtained  canopy  addressing  a  group  of  soldiers  on  his  right  and 
of  ecclesiastics  on  his  left.  The  colouring  of  this  miniature  is  brilliant, 
the  armour  being  of  silver  and  gold.  Surrounding  the  page  is  a  scroll 
border  in  blue  and  brown  introducing  grotesques,  monkeys,  asses,  and 
other  animals. 

Throughout  the  text  are  numerous  initial  letters  in  silver  on  a  ground 
of  maroon,  blue,  and  green.  Gn  a  preliminary  leaf  and  on  folio  6  verso 
are  stamped  the  arms  of  Balthazard  de  Villars  (1557-1629),  President 
of  the  Court  of  Judicature  of  Lyons  and  first  President  of  the  Parliament 
of  Dombes. 

CASA,   Giovanni   della. 

loannis  Casae  de  Potentivm  ac  Tenvivm  inter  se  Officiis. 
[Folio  24  verso]  Prid.  Non.  Nouemb.  MDXLIII.  Svo,  con- 
temporary dark  brown  morocco,  covered  with  a  design  of 
arabesques  and  fleurs-de-lys  outlined  in  gold,  cut  out  ana 
backed  with  crimson  silk,  the  arms  of  Henri  II  in  the  centre, 
and  the  interlacing  crescents  of  Diane  de  Poitiers  in  the 
corners,  gilt  edges.  A  beautiful  and  finely  preserved  specimen 
of  a  rare  and  curious  form  of  binding  of  the  period.  In  a 
half  red  morocco  case. 

An  Italian  manuscript  beautifully  written  in  Latin  in  italic  characters 
upon  vellum  in  1543.    228  X  142  mm. 

There  are  24  leaves,  including  the  title,  which  is  written  on  the  verso 
of  the  first  folio  in  blue  and  gold  letters. 

CICERO,   Marcus   Tullius. 

Tusculanse  Questiones.  Ssec.  XV.  Small  folio,  original 
Florentine  blind-tooled  morocco  over  boards,  gilt  edges.  The 
back  and  outer  margins  restored. 

An  Italian  manuscript  neatly  written  about  1470  in  roman  characters, 
32  lines  to  the  page,  upon  85  leaves  of  vellum.    270  X  188  mm. 

The  headings  and  the  numerous  marginal  notes  are  in  red.  On  folio  2 
recto  is  an  elaborate  scroll  border  in  red  and  green  heightened  with  gold 


14  CICERO  — CLOVIO 

on  a  dark  blue  ground.  At  the  bottom  of  the  page  are  the  Erizzo  arms 
supported  by  two  female  figures.  An  historiated  initial  is  at  the  begin- 
ning of  each  of  the  five  books.  On  the  last  page  are  the  initials  "  P.  E.  A. 
F."  in  red  ink. 

OlCERO,   Marcus  Tullius. 

Epistolse  Familiares.  [Folio  1]  M.  T.  C.  epiftolav  liber 
primus  incipit  Marcuf  Tulliuf  Cicero  Public  lentulo  falutem 
plurimam  dicit.  [Colophon]  M.  T.  C.  Epistolav  liber 
decimus  sextus  et  ultimus  explicit  feliciter.  [Ssec.  XV]. 
Small  folio,  blue  levant  morocco,  the  back  tooled  in  scrolls, 
gilt  edges,  by  Lortic. 

A  fine  Italian  manuscript  executed  in  roman  characters  upon  vellum 
in  the  fifteenth  century.    265  X  190  mm. 

There  are  218  leaves,  with  29  lines  to  the  page.  The  first  folio  contains 
a  beautiful  trilateral  border  of  white  scrolls  on  a  ground  of  blue,  green, 
and  red  outlined  in  burnished  gold.  At  the  foot  are  painted  in  gold  and 
colours  the  quartered  arms  of  the  kings  of  Aragon  and  Naples,  whose  mag- 
nificent collection  of  manuscripts  was  sold  about  1501  by  King  Frederic 
III  to  Cardinal  Georges  d'Amboise,  Prime  Minister  to  Louis  XII. 

There  are  14  large  initials  in  burnished  gold  ornamented  with  white 
scrolls  and  colours,  from  which  issue  lateral  borders  similar  in  design  to 
the  border  on  folio  1.  The  remaining  large  initials  are  painted  in  blue 
and  red. 

CLOVIO,  GiuLio. 

The  Crucifixion.  XVI  Century.  8vo,  in  an  old  silver 
frame. 

An  exquisite  Italian  miniature  of  the  Crucifixion  painted  upon  vellum 
by  Giulio  Clovio  (1498-1578).     237  X  147  mm. 

St.  John  and  a  soldier  are  at  the  right  of  the  Cross,  at  the  left  are 
Mary  Magdalene  and  three  Holy  Women,  one  of  whom  supports  the 
Virgin. 

Henry  Shaw,  who  reproduced  this  painting  in  his  "  Decorative 
Arts  Ecclesiastical  and  Civil  of  the  Middle  Ages,"  thought  that  it  be- 
longed to  the  volume  executed  for  Gregory  XIII,  mentioned  by  Baglione 
in  his  work  published  in  1642. 

From  the  Celloli  and  Wilson  collections. 


CRESCENZI  —  EPHRAEM  15 

CRESCENZI,  PiETRO  de'  (Petrus  de  Crescentiis)  . 

Ruralium  Commodorum  Libri  XII.  Bononise,  1421. 
Folio,  old  red  Italian  morocco  tooled  in  elaborate  borders,  the 
-  arms  of  the  Salviati  family,  surmounted  by  the  papal  tiara,  on 
both  covers,  gilt  edges. 

An  Italian  manuscript  written  in  two  columns  in  gothic  characters 
upon  vellum  in  Bologna,  in  1421,  for  King  Charles  II  of  Naples,  to  whom 
it  is  dedicated,  and  whose  illuminated  arms  appear  in  the  border  at  the 
foot  of  foHo  7.    332  X  228  mm. 

There  are  171  leaves,  with  41  lines  to  the  page.  Folio  6  is  blank. 
The  illuminations  consist  of  2  borders  of  interlacing  scrolls  in  white,  blue, 
red,  green,  and  gold  painted  in  the  Italian  manner,  15  gold  initials  on  a 
ground  of  similar  design,  and  numerous  other  capital  letters  painted  in 
blue. 

EPHRAEM,  (Sts.),  HIERONYMUS,  ANSELMUS,  AU- 
GUSTINUS,   BERNARDUS. 

[Folio  1]  Incipit  liber  primus  fancti  effrem  dyaconi  de 
compunctione  cordis. 

[Folio  61  recto]  Explicit  fextus  et  ultimus  liber  fancti  effrem. 
Jeronimus  aut  loques  de  facto  effrem  in  libro  Illuftriu  viroru 
fie  ait. 

[Folio  104  recto]  Explicit  formula  vite  feu  regula  fancti 
anfelmi  cantuarien  archicpi  ad  fororem  fuam  reclufam. 
Sequntur  hore  concepcois  beate  marie  virginis  a  prefato 
beato  anfelmo  copoite. 

[Folio  107  verso]  Incipit  liber  foliloquiorum  fancti  auguftini 
epifcopi  pmu  capitulum. 

[Folio  163  recto]  Explicit  liber  foliloquiov  bti  auguftini. 
Sequtur  aliqua  dicta  egregia  fctov  et  doctoru  fidei  catho*" 
et  p"  beati  bernardi.  [1484-1493].  8vo,  brown  levant  mo- 
rocco, gilt  back,  gilt  and  blind-tooled  filleted  panels  on  the 
sides,  gilt  ornaments,  vellum  linings,  gilt  edges,  by  Riviere. 

A  French  manuscript  upon  vellum,  containing  in  Latin  works  of  Sts. 
Ephraem,  Jerome,  Anselm,  Augustine,  and  Bernard,  written  in  gothic 
characters  in  the  latter  part  of  the  fifteenth  century.    212  X  141  mm. 


16  EVANGELIA   QUATUOR 

There  are  167  leaves,  with  25  lines  to  the  page,  3  half-page  miniatures, 
8  large  and  86  small  illuminated  initials. 

The  subjects  of  the  miniatures  are:  1.  (F.  1  r.)  Eight  monks  seated 
praying  in  a  monastery.  2.  (F.  104  v.)  The  meeting  of  Joachim  and 
Anna.  3.  (F.  107  v.)  St.  Augustine  kneeling  at  a  prie-dieu  beside  his 
bed.  All  of  the  illuminations  are  beautifully  painted  and  heightened  with 
gold. 

At  the  foot  of  each  page  containing  a  miniature  is  the  coat-of-arms  of 
Cardinal  Georges  d'Ambroise,  Prime  Minister  to  Louis  XII,  as  Bishop 
of  Montauban  (1484-1493),  which  places  the  date  of  the  manuscript. 

Three  of  the  blank  leaves  contain  contemporary  handwriting. 

EVANGELIA  QUATUOR.     S^c.  XV. 

Folio,  two  volumes y  in  seventeenth  century  French  bindings 
of  silver  and  silver-gilt  upon  oak  boards,  with  the  backs  in 
red  velvet.  On  both  sides  of  each  volume  are  sunken  panels 
of  repousse  work  in  very  high  relief,  representing  on  the 
recto  of  Volume  I  the  Virgin  and  St.  John  at  the  Cross,  and 
on  the  verso  the  Resurrection;  the  panels  on  Volume  II  depict 
the  Last  Judgment  and  the  Annunciation.  The  clasps  are 
ornamented  with  floriated  chased  scrolls  and  the  edges  gilded. 

A  Flemish  manuscript  of  the  Four  Gospels,  divided  into  two  volumes 
and  written  in  large  roman  characters  upon  fine  vellum  towards  the  end 
of  the  fifteenth  century.    322  X  225  mm. 

The  first  volume  contains  217  leaves,  including  32  for  the  Index,  and 
the  second,  247  leaves,  including  38  for  the  Index. 

There  are  4  beautifully  painted  large  miniatures  of  the  Evangelists 
(I,  ff.  34  V.  and  151  r. ;  II,  ff.  39  v.  and  157  v.)  and  172  smaller  minia- 
tures (69  in  Volume  I  and  103  in  Volume  II)  averaging  80  X  80  mm.,  all 
surrounded  by  rich  borders  of  flowers,  foliage,  birds,  grotesques,  and  in- 
sects painted  in  the  Flemish  manner,  in  brilliant  colours  on  a  gold 
ground  and  in  the  style  of  the  Italian  Renaissance,  in  shaded  gold  on  a 
blue  ground ;  also  numerous  large  floriated  initials  scattered  throughout 
the  text. 

The  small  miniatures  depict  scenes  in  the  life  of  Christ,  illustrations  of 
the  parables,  and  various  saints.    They  include  (Volume  I)  Joseph  and 


EVANGELIARIA  17 

Mary  (f.  36),  the  Nativity  (f.  37),  the  Massacre  of  the  Innocents  (f.  38), 
the  Flight  (f.  39),  the  Devil  tempting  Christ  (f.  42),  Christ  healing  a 
leper  (f.  5Q),  stilling  the  Tempest  (f.  59),  healing  a  paralytic  (f.  60),  the 
Last  Supper  (f.  62),  Clirist  and  the  Woman  of  Canaan  (f.  89),  the 
Transfiguration  (f.  94),  the  Triumphal  Entry  into  Jerusalem  (f.  110), 
the  Martyrdom  of  St.  Stephen  (f.  123),  and  of  St.  Laurence  (f.  125), 
the  Last  Judgment  (f.  133),  the  Resurrection  (f.  148),  the  Beheading 
of  John  the  Baptist  (f.  170),  Christ  walking  on  the  Water  (f.  172),  the 
Three  Women  at  the  Tomb  (f.  214).  Volume  II:  the  Angel  appearing 
to  Zachariah  (f.  40),  the  Annunciation,  the  Visitation,  the  Birth  of  John 
the  Baptist,  the  Nativity,  the  Adoration  of  the  Shepherds,  the  Circum- 
cision, the  Presentation  in  the  Temple  (ff.  43-51);  Christ  disputing  with 
the  Doctors  (f.  53),  John  the  Baptist  preaching  in  the  Wilderness  (f.  55), 
St.  Sebastian,  the  Good  Samaritan,  the  Assumption  of  the  Virgin  (ff. 
93-96),  the  meeting  of  Joachim  and  Anna  (f.  100),  Dives  and  Lazarus 
(f.  122),  the  Pharisee  and  the  Publican  (f.  128),  the  Marriage  of  Cana 
(f.  182),  the  Stirring  of  the  Pool  (f.  173),  Christ  washing  His  Disciples' 
feet  (f.  215),  the  Agony  in  the  Garden  (f.  232),  Christ  and  Mary  Magda- 
lene in  the  Garden  (f.  241). 

All  of  the  miniatures  are  carefully  painted  and  the  colouring  is  brilliant. 

The  hand  of  at  least  two  artists  is  apparent,  as  may  be  seen  by  compar- 
ing the  miniatures  on  folios  101  and  103  in  Volume  II  with  the  others. 
The  bindings  present  fine  and  unique  examples  of  the  silversmith's  work 
of  the  seventeenth  century. 

EVANGELIARIA.     S^c.  XV. 

Folio,  old  black  morocco,  gilt  back,  gauffred  gilt  edges. 

A  German  manuscript  of  the  Gospels  of  the  Mass  written  in  bold  gothic 
characters  of  black  and  red  in  two  columns  upon  parchment  during  the 
latter  part  of  the  fifteenth  century.    347  X  235  mm. 

It  contains  192  leaves  with  24  lines  to  the  page.  There  are  6  large  and 
16  small  miniatures,  the  former  surrounded  by  rich  arabesque  borders 
in  blue  and  red  on  a  ground  of  red  and  green,  or  flowers,  insects,  and 
birds  in  brilliant  colours  on  a  ground  of  yellow  heightened  with  gold.  In 
addition  are  17  large  arabesque  initial  letters  in  gold  and  colours  and,  on 
the  first  two  leaves,  the  full-page  arms  of  the  original  owner  emblazoned 
in  rich  colours  and  surrounded  by  floral  and  arabesque  borders. 


18  GHEBEDTE 

The  subjects  of  the  large  miniatures,  which  measure  about  170  X  150 
mm.,  are  1.  (F.  9  r.)  The  Nativity;  the  stable  with  a  vaulted  roof,  three 
Shepherds  entering  the  door,  two  in  the  background  receiving  the  Angel's 
message.  2.  (F.  91  v.)  The  Resurrection;  four  soldiers  clad  in  silver  and 
gold  armour.  3.  (F.  105  r.)  The  Descent  of  the  Holy  Spirit,  in  flames  of 
fire.  4.  (F.  110  v.)  The  Sacrament  upheld  by  two  Angels.  5.  (F.  164  r.) 
The  Assumption  of  the  Virgin,  6.  (F.  174  v.)  God  the  Father,  Christ, 
and  the  Virgin  surrounded  by  all  the  Saints. 

The  subjects  of  the  small  miniatures,  which  measure  about  87  X  68 
mm.,  are  1.  (F.  3  r.)  St.  John  the  Baptist  preaching  in  the  wilderness. 
2.  (F.  10  V.)  The  Circumcision.  3.  (F.  11  r.)  The  Adoration  of  the  Magi. 
4.  (F.  57  r.)  Christ's  Entry  into  Jerusalem.  5.  (F.  102  v.)  The  Ascension. 
6.  (F.  131  r.)  The  Martyrdom  of  St.  Stephen.  7.  (F.  138  r.)  The  Presen- 
tation in  the  Temple.  8.  (F.  141  r.)  The  Annunciation.  9.  (F.  142  v.) 
St.  George  and  the  Dragon.  10.  (F.  153  v.)  St.  John  the  Baptist.  11. 
(F.  155  r.)  Sts.  Peter  and  Paul.  12.  (F.  156  r.)  The  Visitation  of  Eliza- 
beth. 13.  (F.  165  V.)  St.  Bernard.  14.  (F.  167  v.)  The  Birth  of  the 
Virgin  Mary.  15.  (F.  177  v.)  The  Meeting  of  Joachim  and  Anna.  16. 
(F.  179  r.)  The  Celebration  of  the  Dedication  of  the  Temple,  conducted 
by  a  Bishop. 

From  the  Bibliotheca  Renesiana. 

GHEBEDTE.    S^c.  XVI. 

Small  4to,  dark  brown  levant  morocco^  Janseniste,  doubled 
with  citron  morocco,  ornamented  with  narrow  floral  borders, 
vellum  guards,  gilt  edges,  by  Trautz-Bauzonnet.  In  a  brown 
morocco  case. 

A  Dutch  Prayer-Book  written  in  the  sixteenth  century  in  italic  char- 
acters upon  fine  vellum.     136  X  92  mm. 

It  contains  232  leaves,  with  14  lines  to  the  page.  There  are  34  large  and 
1  small  miniatures,  68  borders,  and  34  large  initial  letters  painted  in 
camaieu  d'or,  gris,  and  mauve,  on  a  ground  of  colours.  The  subjects  of 
the  miniatures  are  unusual  and  the  borders  all  different  in  design.  Those 
surrounding  the  miniatures  and  on  the  opposite  pages  are  composed  of 
various  flowers,  fruit,  insects,  human  figures,  monkeys,  unicorns,  pea- 
cocks, owls,  frogs,  satyrs,  herons,  fighting-cocks,  jewels,  vases,  pillars, 
gargoyles,  etc.,  in  subdued  colours  on  grounds  of  dull  gold,  green,  ma- 
roon, mauve,  camaieu  (Tor,  and  bistre. 


ghebedtp:  19 

The  34  beautifully  painted  large  miniatures  are  all  on  the  verso  of  the 
leaves,  the  rectos  being  blank.  Their  subjects  are  1.  (F.  1)  The  Agony  in 
the  Garden;  Jerusalem  in  the  background.  2.  (F.  9)  The  Sermon  on 
the  Mount.  3.  (F.  33)  God  the  Father  in  the  act  of  blessing;  in  His 
left  hand  a  ball  surmounted  by  a  cross.  4.  (F.  40)  Christ  with  crown  of 
thorns,  stigmata,  and  instruments  of  flagellation.  5.  (F.  49)  The  De- 
scent of  the  Holy  Spirit.  6.  (F.  53)  The  Virgin  teaching  the  Child  Christ; 
a  landscape  in  the  background,  seen  through  a  window.  7.  (F.  67)  The 
Descent  from  the  Cross ;  the  Trinity,  the  Virgin,  and  St.  John  the  Evan- 
gelist. 8.  (F.  73)  A  Woman  praying  at  her  bed-side;  on  the  wall  a 
triptych  containing  a  delicate  painting  of  the  Ascension  of  Christ.  9. 
(F.  80)  An  Angel  holding  a  sceptre  in  his  left  hand ;  the  borders  on  this 
and  the  opposite  page  depict  Bacchus,  two  Bacchantes  and  an  orgiastic 
scene.  10.  (F.  90)  Christ  crucified  between  the  two  thieves,  a  soldier 
piercing  His  side  with  a  spear,  the  Virgin  and  St.  John  the  Evangelist 
kneeling  at  the  foot  of  the  Cross.  11.  (F.  103)  Mary  Magdalene  anoint- 
ing Christ's  feet  and  drying  them  with  her  hair.  12.  (F.  109)  The  Phari- 
see and  Publican  in  prayer.  13.  (F.  115)  The  Confessional.  14.  (F.  119) 
The  Woman  taken  in  Adultery.  15.  (F.  123)  The  Last  Supper;  the  bor- 
der consisting  of  a  stag's  head  and  hoofs.  16.  (F.  129)  Moses  and  the 
miracle  of  the  manna.  17.  (F.  136)  Melchizedek,  King  of  Salem,  bless- 
ing Abram.  18.  (F.  143)  Christ  healing  a  woman.  The  following  six 
miniatures  are  illustrative  of  the  acts  of  mercy  recorded  by  Christ  in  His 
description  of  the  Last  Judgment.  In  each  instance  He  is  the  one 
ministered  to,  —  the  traveller,  the  prisoner,  the  invalid,  etc.  19.  (F.  149) 
"I  was  a  stranger,  and  ye  took  me  in."  20.  (F.  155)  "I  was  thirsty  and 
ye  gave  me  drink."  21.  (F.  169)  "I  was  an  hungered,  and  ye  gave  me 
meat."  22.  (F.  173)  "Naked,  and  ye  clothed  me."  23.  (F.  178)  "I  was 
in  prison,  and  ye  came  unto  me."  24.  (F.  183)  "I  was  sick  and  ye 
visited  me."  25.  (F.  187)  A  Burial  Service  in  a  churchyard.  26. 
(F.  191)  The  meeting  of  Joachim  and  Anna.  27.  (F.  196)  Susanna  and 
the  two  Elders  in  her  husband's  garden.  28.  (F.  200)  Job  and  his 
wife;  the  latter  in  a  sixteenth  century  costume  with  hat.  29.  (F.  204) 
The  Disciples  calling  upon  Christ  to  still  the  tempest.  30.  (F.  208) 
"Pacientia";  a  sleeping  woman  clasping  a  lamb  in  her  arms.  31. 
(F.  212)  "Faith";  a  woman  clasping  a  crucifix.  32.  (F.  216)  "Con- 
stantia";  the  Devil  in  the  form  of  a  death's  head  tempting  her;  in  the 


20  GHETIDE-GREGORIUS   MAGNUS 

borders  are  Adam  and  Eve  and  the  Serpent.  33.  (F.  222)  Three 
skeletons  on  a  pedestal;  in  the  borders  symbolical  figures  of  Death. 
34.  (F.  228)  The  Creation  of  Eve.  The  small  miniature  (F.  52  v.) 
depicts  Christ  and  St.  John  the  Baptist;  the  border  simulates  a  gold 
frame  with  pearls  at  the  four  corners. 

All  of  the  paintings  are  executed  with  infinite  detail  and  originality  of 
treatment,  and  the  colouring  is  varied  and  brilliant,  yet  harmonious  in 
effect. 

This  manuscript  is  unique  and  most  interesting  in  respect  of  both  sub- 
ject and  treatment. 

GHETIDE.  —  See  Hor^. 
GOSPELS.  —  See  Evangelia. 

GREGORIUS   MAGNUS,   St. 

Morali  di  S.  Gregorio  Papa.  [Moralia  in  Job]  [Folio  343] 
Finito  lo  x°  libro  deli  morali  di  Sancto  Gregorio  sopra  Job : 
et  la  secunda  parte  in  comincia  lo  xi?  libro :  et  la  ter9a  parte. 
Deo  gratias.  Amen.  Folio,  original  oak  boards  covered 
with  a  contemporary  Italian  binding  of  red  morocco  tooled 
in  fillets  forming  compartments  with  broken  chain  ornaments, 
brass  and  morocco  clasps,  gauffred  gilt  edges. 

An  Italian  manuscript  beautifully  written  in  roman  characters  upon 
fine  vellum  during  the  latter  part  of  the  fifteenth  century.    314  X  220  mm. 

There  are  343  leaves,  of  which  the  first  contains  the  title,  with  32  lines 
to  the  page. 

The  illuminations  consist  of  a  full-page  border  on  the  first  leaf  of  the 
Dedication  to  St.  Leander,  Archbishop  of  Seville  (folio  2  recto),  com- 
posed of  scrolls  in  white  on  a  ground  of  blue,  red,  and  green,  painted  in 
the  Italian  manner  of  the  period,  also  12  large  initial  letters  (about  55  X 
55  mm.)  in  burnished  gold  on  a  ground  of  similar  design,  and  300  small 
initials  in  gold  on  a  decorated  ground  of  blue  and  red.  In  the  foot  of  the 
border  on  folio  2  is  a  blank  space  within  a  wreath,  reserved  for  arms. 

From  the  calligraphy,  at  least  two  scribes  worked  upon  this  manu- 
script. 


HIERONYMUS-HOR.E  21 

HIERONYMUS,  St.  —  See  Ehpraem. 

HOR^  BEAT^  MARI.E  VIRGINIS  secundum  Usum 
Anglic  Ecclesi^e.     [Circa  1365]. 
4to,  old  red  velvety  filigree  silver  clasps,  gilt  edges.     In  a 
cloth  case. 

An  English  Book  of  Hours  written  in  gothic  characters  upon  vellum, 
presumably  about  1365,  for  some  religious  foundation  in  Wales.  It 
passed  into  the  hands  of  Lord  Somers,  whose  arms  are  in  the  lower  part 
of  the  borders  on  folios  7  verso  and  8  recto ;  thence  into  the  collections  of 
Sir  Joseph  Jekyl,  James  West,  and  Ansley  Windus.    236  X  160  mm. 

There  are  176  leaves,  including  6  for  the  Calendar,  with  19  lines  to  the 
page;  31  large  miniatures  and  24  small  ones  in  the  form  of  historiated  in- 
itials. 

The  borders  are  of  two  kinds:  (1)  47  of  full-page  size  around  the 
large  miniatures  and  on  the  pages  opposite,  composed  of  flowers,  scrolls, 
insects,  etc.,  in  brilliant  colours  and  gold;  and  (2)  20  "line  and  leaf" 
borders  in  black  and  burnished  gold  with  flowers,  issuing  from  the  his- 
toriated initials.  There  are  24  large  floral  initials  and  numerous  smaller 
ones  in  burnished  gold  and  colours. 

The  subjects  of  the  large  miniatures  are  1.  (F.  7  v.)  Christ  standing 
with  upraised  right  hand,  a  red  and  gold  robe  behind  him  supported  by 
two  angels,  at  His  feet  a  golden  ball.  2.  (F.  14  v.)  The  Trinity.  3. 
(F.  17  V.)  St.  John  the  Baptist.  4.  (F.  19  v.)  The  Martyrdom  of  St. 
Thomas  a  Becket.  5.  (F.  21  v.)  St.  George  and  the  Dragon.  6.  (F.  23  v.) 
St.  Christopher.  7.  (F.  25  v.)  St.  Anne  with  the  Virgin  and  Child.  8. 
(F.  27  V.)  St.  Mary  Magdalene.  9.  (F.  29  v.)  St.  Catherine.  10.  (F.  31  v.) 
St.  Barbara.  11.  (F.  33  v.)  St.  Margaret.  12.  (F.  35  v.)  The  Agony  in 
the  Garden.  13.  (F.  36  r.)  The  Annunciation.  14.  (F.  43  v.)  The  Be- 
trayal. 15:  (F.  44  r.)  The  Visitation.  16.  (F.  57  v.)  Christ  before  Pilate, 
who  is  washing  his  hands  of  Him.  17.  (F.  58  r.)  The  Nativity.  18. 
(F.  62  V.)  The  Scourging.  19.  (F.  63  r.)  The  Announcement  to  the  Shep- 
herds. 20.  (F.  66  r.)  The  Adoration  of  the  Magi.  21.  (F.  69  v.)  The 
Crucifixion.  22.  (F.  70  r.)  The  Presentation  in  the  Temple.  23.  (F.  73  v.) 
The  Descent  from  the  Cross.  24.  (F.  74  r.)  The  Massacre  of  the  Inno- 
cents, Herod  on  horseback  in  the  foreground.  25.  (F.  77  r.)  The  En- 
tombment.   26.  (F.  78  r.)  The  Flight  into  Egypt.    27.  (F.  103  v.)   The 


22  HORiE 

Last  Judgment.  28.  (F.  121  v.)  A  Burial  Service.  29.  (F.  143  v.)  The 
Resurrection  of  two  dead  persons,  who  are  being  carried  in  a  winding- 
sheet  by  two  angels  to  God  the  Father.  30.  (F.  157  v.)  Christ's  Resur- 
rection, the  symbols  of  the  Passion  around  Him.  31.  (F.  164  v.)  St. 
Jerome. 

The  subjects  of  the  24  small  miniatures  (folios  51-102)  are  the  Holy 
Spirit,  St.  Michael,  Sts.  Peter  and  Paul,  St.  Andrew,  St.  Laurence,  St. 
Stephen,  St.  Nicholas,  All  Saints,  the  Coronation  of  the  Virgin,  St. 
Anthony,  the  Virgin  and  Child,  the  Descent  from  the  Cross,  Saints  re- 
ceiving a  Bishop's  benediction,  the  Nailing  to  the  Cross,  the  three  Crosses, 
Christ,  the  wounded  Hands  (2),  bleeding  Hearts,  the  wounded  Feet  (2), 
St.  John  the  Evangelist,  Christ  crucified  with  the  two  thieves,  and  the 
Celebration  of  the  Mass. 

The  colouring  of  all  the  illuminations  is  very  brilliant,  burnished  gold 
being  freely  employed. 

On  eleven  pages  are  Latin  prayers  in  calligraphy  of  a  later  period 
than  that  of  the  manuscript. 

HORiE  BEAT^  MARI^  VIRGINIS.    S^c.  XIV-XV. 

Mo,  old  French  red  moroccOy  gilt  back  and  panelled  sides 
with  corner  ornaments,  silver  clasps,  gilt  edges. 

A  French  Book  of  Hours  written  in  gothic  characters  upon  vellum 
during  the  last  part  of  the  fourteenth  or  the  first  part  of  the  fifteenth 
century.    217  X  162  mm. 

There  are  115  leaves,  including  12  for  the  Calendar,  with  16  lines  to 
the  page.  The  first  and  last  folios  contain  a  coat-of-arms  painted  in  gold 
and  colours  within  a  laurel  wreath.  On  the  last  page  it  is  quartered  with 
others. 

There  are  16  large  miniatures  within  borders  of  flowers,  scrolls,  birds, 
etc.,  painted  in  brilliant  colours  and  burnished  gold,  similar  but  less 
elaborate  borders  on  the  outer  margin  of  each  page  of  text,  and  numer- 
ous illuminated  initials. 

The  subjects  of  the  miniatures  are  1.  (F.  14  r.)  St.  John  the  Evangelist 
on  Patmos.  2.  (F.  16  r.)  St.  Luke.  3.  (F.  18  r.)  St.  Matthew.  4. 
(F.  20  r.)  St.  Mark.  5.  (F.  21  r.)  The  Crucifixion.  6.  (F.  25  r.)  The 
Descent  of  the  Holy  Spirit.  7.  (F.  28  r.)  The  Annunciation.  8.  (F.  37  r.) 
The  Visitation  of  Elizabeth.     9.  (F.  46  r.)  The  Nativity.     10.  (F.  50  r.) 


HORiE  '  23 

The  Announcement  to  the  Shepherds.  11.  (F.  53  r.)  The  Adoration  of 
the  Magi.  12.  (F.  57  r.)  The  Presentation  in  the  Temple.  13.  (F.  61  r.) 
The  FHght  into  Egypt.  14.  (F.  67  r.)  The  Coronation  of  the  Virgin. 
15.  (F.  71  r.)  King  David  praying;  in  the  background  the  towers  of  a 
city  beside  a  river.  16.  (F.  86  r.)  A  Burial  Service  in  a  churchyard, 
including  three  priests,  mourners,  and  two  grave-diggers. 

The  miniatures  are  finely  painted,  some  of  them  upon  diaper  back- 
grounds of  blue,  red,  and  burnished  gold  characteristic  of  late  four- 
teenth and  early  fifteenth  century  workmanship. 

HOR^  BEATvE  MARINE  VIRGINIS.     S^c.  XV. 

Mo,  old  stamped  leather  binding  over  oak  boards,  with 
perforated  silver-gilt  clasps  containing  small  oval  paintings 
upon  vellum  under  glass,  with  the  gothic  letters  **i.  a."  on  the 
reverse,  gilt  edges. 

A  Flemish  Book  of  Hours  written  in  clear  gothic  characters  upon  vel- 
lum at  the  beginning  of  the  fifteenth  century,  and  probably  for  use  in 
Paris,  as  the  last  miniature  represents  St.  Genevieve.    202  X  145  mm. 

Including  the  12  folios  of  the  Calendar  there  are  180  leaves,  with  14 
lines  to  the  page.  The  illuminations  consist  of  6  large  miniatures  sur- 
rounded by  borders  of  scrolls,  fruit,  flowers,  birds,  and  animals  painted 
in  colours  heightened  with  gold,  the  pages  opposite  the  miniatures  con- 
taining similar  borders ;  also  19  historiated  initials,  and  numerous  large 
and  small  capitals  illuminated  in  gold  and  colours. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13)  The  Crucifixion. 
2.  (F.  22)  The  Descent  of  the  Holy  Spirit.  3.  (F.  30)  The  Virgin  and 
Child  enthroned,  four  angels  playing  musical  instruments  around  them. 
4.  (F.  45)  The  Annunciation.  5.  (F.  107)  King  David  praying  outside  a 
moated  castle.    6.  (F.  127)  The  Raising  of  Lazarus. 

The  small  miniatures  are  delicately  painted  in  grey  and  blue  height- 
ened with  gold.  The  subjects  comprise  (ff.  59  -100)  the  Visitation,  the 
Nativity,  the  Announcement  to  the  Shepherds,  the  Magi,  the  Presenta- 
tion in  the  Temple,  the  Massacre  of  the  Innocents,  the  Flight;  (ff.  162- 
179)  the  Pieta,  St.  Michael,  Sts.  Peter  and  Paul,  St.  John  the  Baptist, 
St.  Sebastian,  St.  Nicholas,  St.  Anthony,  St.  Mary  Magdalene,  St.  Cath- 
erine, St.  Barbara,  St.  Agnes,  and  St.  Genevieve.  From  these  19  historiated 
initials  issue  tracery  ornamentation^  heightened  with  gold  and  colours. 


24  HORiE 

The  drawing  of  the  miniatures  is  somewhat  stiff  and  formal,  but  the 
composition  is  good  and  the  colouring  fresh  and  pure. 

HOR^  BEATyE  MARI.E  VIRGINIS.     S^c.  XV. 

Svo,  red  levant  morocco  richly  tooled  in  compartments  of 
fillets,  scrolls,  azured  arabesques,  and  other  small  ornaments, 
doubled  with  green  morocco  entirely  covered  with  gold  tooled 
compartments,  gilt  edges,  by  Thouvenin.  In  a  case  of  red 
levant  morocco. 

A  Flemish  Book  of  Hours  written  in  large  gothic  characters  upon 
vellum  in  the  first  part  of  the  fifteenth  century.    215  X  155  mm. 

It  consists  of  153  leaves,  including  12  for  the  Calendar,  with  19  lines  to 
the  page.  Folio  1  contains  "Initium  fancti  euuagelii  fcd'm  iohanne,"  — 
an  unusual  arrangement  of  text.  There  are  7  large  and  26  small  minia- 
tures, numerous  large  and  small  initial  letters  in  burnished  gold  and 
colours,  chiefly  blue,  and  on  every  folio  except  the  first  borders  of  scrolls, 
flowers  and  fruits  in  gold  and  colours.  The  borders  accompanying  the 
text  are  lateral,  those  surrounding  and  opposite  the  large  miniatures  are 
full-page  and  more  elaborate  in  design. 

The  large  miniatures  have  oval  tops  and  are  on  the  verso  of  the  leaves. 
Their  subjects  are  1.  (F.  14)  The  Crucifixion;  the  Virgin  Mary  and  St. 
John  the  Evangelist  at  the  foot  of  the  Cross,  the  Temple  in  the  back- 
ground. 2.  (F.  21)  The  Descent  of  the  Holy  Spirit;  the  scene  an 
open-air  archway  with  a  landscape  in  the  background.  3.  (F.  43)  The 
Visitation  of  Elizabeth.  4.  (F.  53)  The  Nativity.  5.  (F.  58)  The  Presen- 
tation; an  unusual  composition  representing  the  High  Priest  meeting 
Joseph  and  Mary  with  the  Child  at  the  door  of  the  Temple.  6.  (F.  68) 
The  Massacre  of  the  Innocents;  the  scene  a  porch  in  which  stands 
Herod.  7.  (F.  107)  The  Raising  of  Lazarus;  a  group  of  only  three 
figures. 

The  subjects  of  the  26  small  miniatures  are  (ff.  15-20)  seven  scenes 
from  the  Passion ;  (ff.  73-89)  the  Coronation  of  the  Virgin,  the  Pieta, 
the  Virgin  and  Child,  Death;  (ff.  145-152)  St.  George,  St.  Christopher, 
St.  Quintin,  St.  Francis  of  Assisi,  St.  Hubert,  St.  Martin,  St.  Adrian,  St. 
Sebastian,  St.  Anna,  St.  Catherine,  St.  Barbara,  St.  Margaret,  St.  Eliza- 
beth, and  St.  Bernard. 

The  miniatures  and  borders  appear  to  have  been  painted  by  different 


HOR^  25 

artists.  The  latter  are  rather  more  brilHant  in  colouring,  blue  predomin- 
ating. The  tone  of  all  of  the  miniatures  is  subdued  except  for  the  bur- 
nished gold  of  the  aureoles. 

The  Calendar  and  the  rubrics  are  in  French. 

HORvE  BEAT.E  MARI^  VIRGINIS.    S^c.  XV. 

8vo,  light  brown  morocco  y  back  and  side  borders  ornamented 
in  a  graceful  original  design  of  bands  and  scrolls  in  red 
morocco,  the  intervals  filled  with  gilt  scrolls  and  dots,  shell- 
shaped  ornaments  of  green  in  the  corners,  with  red  mosaic 
and  gilt  flowers,  doubled  with  red  morocco,  rich  borders  of 
scrolls,  dots,  and  flowers,  red  moire  silk  guards,  the  original 
gilt  and  painted  leaves  preserved,  by  Joly.  In  a  maroon 
morocco  case. 

A  Flemish  Book  of  Hours  written  in  gothic  letters  upon  vellum  in  the 
early  part  of  the  fifteenth  century.    193  X  132  mm. 

There  are  93  leaves,  including  6  for  the  Calendar;  folios  16  and  54  are 
blank  and  ruled  in  red  ink,  with  a  coat-of-arms  on  the  verso.  The  vol- 
ume contains  in  all  14  large  and  24  small  miniatures,  the  former  sur- 
rounded by  beautiful  narrow  borders  of  flowers,  fruit,  and  animals,  on  a 
burnished  gold  ground.  Each  page  of  the  Calendar,  which  is  written  in 
red,  blue,  and  gold  letters  in  French,  has  a  trilateral  border  of  similar 
character ;  at  the  foot  of  each  page  are  two  small  miniatures,  one  repre- 
senting a  scene  appropriate  to  the  month,  the  other  the  sign  of  the  zodiac. 
Every  page  of  text  has  a  lateral  border,  and  there  are  numerous  initial 
letters  in  colours  on  a  gold  ground. 

The  subjects  of  the  large  miniatures,  all  except  the  first  and  last  from 
the  Old  Testament,  are  1.  (F.  7)  St.  John  the  Evangelist  on  Patmos. 
2.  (F.  17)  The  Angel  of  the  Lord  appearing  to  Moses  in  the  burning  bush 
on  Mt.  Horeb.  3.  (F,  24)  Moses  consecrating  Aaron  and  his  sons.  4. 
(F.  32)  The  Vision  of  the  Virgin  and  Child  to  Augustus  Caesar,  prophe- 
sied by  the  sibyl,  Tiburtina.  5.  (F.  35  v.)  Jacob's  Ladder.  6.  (F.  38)  The 
Queen  of  Sheba  presenting  gifts  to  Solomon.  7,  (F.  40  v.)  Hannah 
presenting  Samuel  to  the  Lord  before  Eli.  8.  (F.  43)  The  child  Samuel 
and  Eli.  9.  (F,  45  v.)  King  Ahasuerus  and  Queen  Esther.  10.  (F.  49) 
Abraham  sacrificing  Isaac.     11.  (F.  52  v.)  The  Children  of  Israel  wor- 


26  HORiE 

shipping  the  Golden  Calf.  12.  (F.  55)  King  David  watching  Bathsheba. 
13.  (F.  67  r.)  King  Solomon's  Judgment  between  the  two  Harlots.  14. 
(F.  86  V.)  The  Annunciation;  the  Angel  bearing  a  Cross. 

Two  artists  painted  the  miniatures  in  this  manuscript,  the  larger 
illuminations  being  superior  in  execution  to  the  smaller.  The  arms  of  a 
former  owner  appear  fourteen  times. 

HOR.E    (GHETIDE).     S^c.  XV. 

4<o,  in  a  Flemish  seventeenth  century  binding  of  silver  gilt. 
In  the  back  panels^  in  high  relief,  are  three  scenes  from  the 
life  of  Christy  —  the  Agony  in  the  Garden,  the  Baptism,  and 
the  Carrying  of  the  Cross.  Each  side  has  a  long  central  panel 
divided  into  one  large  and  three  small  compartments;  on  the 
recto  is  the  Crucifixion,  with  two  emblematic  fiqures  above 
and  an  ornamental  panel  below;  on  the  verso  is  Religious 
Inspiration,  with  accompanying  emblematic  figures.  On 
each  side  of  these  two  central  panels  is  a  narrower  engraved 
panel  containing  the  figures  of  the  twelve  Apostles  under 
gothic  canopies,  three  in  each  panel.  The  clasps  and  end- 
pieces  are  chased  with  allegorical  figures;  mauve  silk  linings, 
gilt  and  gauffred  edges. 

A  Dutch  Book  of  Hours  written  in  gothic  letters  upon  vellum  in  the 
eariy  part  of  the  fifteenth  century.    151  X  106  mm. 

It  contains  147  leaves,  including  12  for  the  Calendar,  with  18  lines  to 
the  page.  Folios  59  and  147  are  blank.  There  are  5  large  miniatures  sur- 
rounded by  "line  and  leaf"  borders  in  black  and  gold,  with  flowers  in 
colours.  Opposite  the  paintings  are  more  elaborate  scroll  borders  in 
black,  green,  gold,  etc.,  enclosing  the  text  and  large  initial  letters  in  blue 
and  red  on  a  ground  of  burnished  gold.  There  are  two  other  varieties  of 
border,  blue  or  red  ornaments  issuing  from  initials  in  similar  colours,  and 
floral  sprays  in  black,  green,  and  gold  springing  from  a  lateral  line  border 
in  colours  heightened  with  gold. 

The  subjects  of  the  miniatures  are  1.  (F.  13  v.)  The  Annunciation. 
2.  (F.  60  V.)  Christ  standing,  a  gold  ball  in  His  left  hand.  3.  (F.  87  v.) 
The  Crucifixion.  4.  (F.  95  v.)  King  David  praying.  5.  (F.  113  v.)  A 
Burial  Service. 


UORJE  27 

Each  of  the  miniatures  has  a  burnished  gold  background,  and  the 
drawing  of  all  of  them  is  quaint  and  interesting.  The  colouring  through- 
out the  manuscript  is  subdued  rather  than  brilliant. 

HOR^  BEATiE  MARI^  VIRGINIS.     S^c.  XV. 

4to,  brown  levant  morocco,  gilt  and  blind-tooled  back  and 
side  panels,  corner  and  centre  ornaments  in  gilt,  doubled  with 
vellum,  gilt  edges,  by  F.  Bedford. 

A  Flemish  Book  of  Hours  written  in  gothic  letters  upon  vellum  in  the 
early  part  of  the  fifteenth  century.     184  X  126  mm. 

It  contains  155  leaves,  including  24  for  the  Calendar,  with  14  lines  to 
the  page.    Folios  13  and  114  are  blank. 

There  are  15  large  miniatures  and  54  small  ones,  comprising  24  in  the 
Calendar,  25  in  the  borders,  and  5  historiated  initials,  making  69  paintings 
in  all. 

The  pages  containing  large  miniatures  and  historiated  initials  have 
full-page  borders  of  flowers,  foliage,  fruit,  scrolls,  animals,  insects,  etc., 
in  gold  and  colours  on  a  silver,  dull  gold,  or  white  ground  studded  with 
black  dots.  The  other  leaves,  including  the  Calendar,  have  lateral  bor- 
ders of  a  similar  design,  the  recto  and  the  verso  of  the  folio  being  alike  in 
respect  of  composition  and  general  appearance.  The  border  on  folio  1 15 
recto  differs  from  the  others,  being  of  architectural  design  in  dull  blue, 
red,  brown,  and  camaieu  d'or,  with  figures  of  saints. 

The  subjects  of  the  large  miniatures  are  1.  (F.  14  r.)  St.  John  the 
Evangelist  on  Patmos.  2.  (F.  30  r.)  The  Annunciation.  3.  (F.  41  v.)  The 
Visitation  of  Elizabeth.  4.  (F.  58  r.)  The  Nativity.  5  (F.  64  r.)  The 
Announcement  to  the  Shepherds,  one  of  whom  is  a  woman.  6.  (F.  67  v.) 
The  Adoration  of  the  Magi.  7.  (F.  70  v.)  The  Circumcision.  8.  (F.  73  v.) 
The  Flight  into  Egypt.  9.  (F.  80  r.)  The  Coronation  of  the  Virgin.  10. 
(F.  86  r.)  King  David  praying.  11.  (F.  107  r.)  The  Crucifixion.  12.  (F. 
110  V.)  The  Descent  of  the  Holy  Spirit.  13.  (F.  115  r.)  "Les  trois  vifs 
et  les  trois  morts."  14.  (F.  147  r.)  The  Virgin  and  Child,  at  the  beginning 
of  the  prayer,  "Doulce  dame  de  misericorde."  15.  (F.  152  v.)  The 
Trinity,  at  the  beginning  of  the  prayer,  "Doulx  dieu  doux  pere  saincte 
trinite,"  which  is  written  in  letters  of  blue,  red,  and  burnished  gold  in 
French. 

The  24  miniatures  in  the  Calendar  represent  the  signs  of  the  zodiac 


28  HOR^ 

and  scenes  appropriate  to  the  months.  The  small  miniatures  in  the  other 
borders  are  related  in  subject  to  the  large  ones. 

On  folio  147  is  the  figure  of  a  man,  possibly  the  person  for  whom  the 
manuscript  was  executed,  kneeling  before  the  crowned  Virgin,  who  is 
protecting  him  from  the  assaults  of  the  devil,  standing  behind  her. 

The  miniatures  are  interesting  for  their  rude  quaintness  of  expression 
and  elaborate  execution. 

HOR.E  BEATiE   MARI.E  VIRGINIS.     S^c.   XV. 

[Folio  11  r.]  Hier  beghint  dat  ghetide  van  onfer  lieuer 
f  veter  vrouwen.  4to,  brown  levant  morocco^  centre^  side  corners^ 
and  hack  tooled  in  leaf -sprays  and  flowers,  doubled  with  velluTUy 
gilt  borders,  vellum  guards,  gauffred  gilt  edges,  by  Mercier,  In 
a  brown  levant  morocco  case. 

A  Dutch  Book  of  Hours  written  in  gothic  characters  upon  vellum  in 
the  fifteenth  century.     178  X  127  mm. 

It  contains  220  leaves,  including  10  for  the  Calendar,  with  21  lines  to  the 
page.  There  are  no  miniatures  in  this  volume,  but  it  has  elaborately  ex- 
ecuted borders  in  red  and  blue  ink  issuing  from  the  initial  letters,  and 
traced  in  the  delicate  but  free  style  of  ornamentation  characteristic  of  the 
late  fourteenth  and  early  fifteenth  centuries.  On  the  rectos  of  folios  11, 
43,  92,  198,  and  189  are  very  elaborate  double  borders  introducing  green 
and  gold,  as  in  the  initial  letters  on  those  pages.  Different  animals  and 
birds  are  here  painted,  including  the  peacock  and  the  stork. 

HORiE   BEATiE   MARI.E  VIRGINIS.     S^c.   XV. 

4to,  brown  levant  morocco  blind-tooled  with  fleurs-de-lys 
and  shells,  vellum  linings,  gilt  edges,  by  Lortic  fils.  In  a 
cloth  case. 

A  French  or  Flemish  Book  of  Hours  written  in  large  and  small  gothic 
characters  upon  vellum  at  the  beginning  of  the  fifteenth  century  for  use 
in  France.    227  X  162  mm. 

There  are  185  leaves,  including  12  for  the  Calendar,  with  14  lines  to 
the  page,  besides  2  final  blank  leaves  ruled  in  red  ink.  The  first  leaf  is  a 
vellum  frontispiece,  inserted  at  a  later  date,  containing  the  arms  of  a 
bishop,  his  mitre  and  crozier,  within  a  wreath  of  laurel.    There  are  16 


HOR^  29 

half-page  miniatures  all  with  oval  tops,  and  numerous  large  and  small 
illuminated  initials. 

All  of  the  pages  of  text  have  lateral  "line  and  leaf"  borders  in  black 
and  burnished  gold  with  scrolls  and  flowers  in  colours,  surrounded  by 
gilt  fillets.  The  miniatures  have  double  borders,  —  narrow  trilateral  de- 
signs in  red  and  blue  on  a  burnished  gold  ground  within  wide  borders  of 
thickly  scattered  flowers  and  scrolls  introducing  birds,  vases,  and  gro- 
tesques.   There  are  also  four  full-page  borders  of  similar  design. 

The  subjects  of  the  large  miniatures  are  1.  (F.  14  r.)  St.  John  the 
Evangelist.  2.  (F.  16  r.)  St.  Luke.  3.  (F.  18  r.)  St.  Matthew.  4.  (F.  20  r.) 
St.  Mark.  5.  (F.  22  r.)  The  Annunciation.  6.  (F.  44  v.)  The  Visitation 
of  Elizabeth.  7.  (F.  58  v.)  The  Nativity,  a  quaint  scene  in  which  the  In- 
fant Christ  lies  on  a  bed.  8.  (F.  65  v.)  The  Announcement  to  the 
Shepherds.  9.  (F.  72  r.)  The  Circumcision.  10.  (F.  78  v.)  The  Ad- 
oration of  the  Magi.  11.  (F.  85  r.)  The  Flight  into  Egypt.  12. 
(F.  95  r.)  The  Coronation  of  the  Virgin.  13.  (F.  102  r.)  The  Crucifixion. 
14.  (F.  107  r.)  The  Descent  of  the  Holy  Spirit.  15.  (Ill  r.)  King  David 
praying.  16.  (F.  133  v.)  A  Burial  Service  within  a  chapel.  Nos.  1-4  and 
13-14  have  diaper  backgrounds  in  blue,  red,  and  burnished  gold. 

This  manuscript  is  interesting  for  its  quaintness  of  composition,  free- 
dom of  treatment,  and  freshness  of  colour.  The  Calendar,  most  of  the 
rubrics,  and  the  prayers  on  the  last  eighteen  pages  are  in  French. 

HOR^   BEAT^   MARIiE  VIRGINIS.    S^c.   XV. 

4to,  red  velvet,  silver  clasps,  edges  painted  over  the  gilt. 

A  French  Book  of  Hours  written  in  gothic  letters  upon  parchment  at 
the  beginning  of  the  fifteenth  century.     247  X  175  mm. 

There  are  153  leaves  including  12  for  the  Calendar,  with  18  lines  to  the 
page,  and  31  miniatures,  12  large  and  19  small. 

The  pages  of  the  Calendar  and  text  have  lateral  borders  beautifully 
painted  in  flowers,  foliage,  fruit,  and  scrolls  in  colours  heightened  with 
gold  on  a  tracery  ground  executed  with  a  pen.  The  borders  surrounding 
the  large  miniatures  and  the  opposite  pages  are  of  the  same  character, 
but  more  elaborate,  blue  predominating,  introducing  grotesques.  There 
are  inner  borders  of  conventionalized  flowers  in  colours  on  a  ground  of 
burnished  gold,  also  numerous  large  and  small  illuminated  initials. 

The  large  miniatures  have  oval  tops  and  are  painted  on  the  verso  of 


30  HORiE 

the  leaves.  Their  subjects  are  1.  (F.  13)  The  Crucifixion ;  the  Virgin  and 
the  Beloved  Disciple  at  the  foot  of  the  Cross,  Jerusalem  in  the  back- 
ground. 2.  (F.  20)  The  Descent  of  the  Holy  Spirit;  an  unusual  com- 
position in  a  portico.  3.  (F.  38)  The  Annunciation,  in  a  room  of  quaint 
simplicity.  4.  (F.  53)  The  Visitation  of  Elizabeth;  in  the  background  a 
curious  little  chapel  beside  a  rock.  5.  (F.  62)  The  Nativity;  the 
"stable"  a  half-thatched  structure  formed  of  four  poles  open  to  the  air. 
6.  (F.  67)  The  Announcement  to  the  Shepherds.  7.  (F.  72)  The  Adora- 
tion of  the  Magi,  one  of  them  black.  8.  (F.  76)  The  Presentation  in  the 
Temple.  9.  (F.  81)  The  Flight.  10.  (F.  88)  The  Massacre  of  the 
Innocents.  11.  (F.  105)  King  David  praying;  two  warriors  fighting  in 
the  background.     12.  (F.  121)  The  Raising  of  Lazarus. 

The  subjects  of  the  small  miniatures  are  five  scenes  from  the  Passion 
(ff.  15-19)  and  various  saints  (ff.  31-37);  St.  Michael,  St.  John  the 
Baptist,  St.  Peter,  St.  Adrian,  St.  Sebastian,  St.  Anthony,  St.  Catherine, 
St.  Barbara,  St.  Margaret,  St.  Apollonia,  St.  Margaret,  and  St.  Mary 
Magdalene.    On  folio  93  r.  is  the  Coronation  of  the  Virgin  by  the  Trinity. 

The  work  of  two  artists  is  evident  in  this  volume,  the  graceful  borders 
having  been  executed  by  the  more  skilful.  The  formal  drawing  of  the 
miniatures  points  to  the  end  of  the  fourteenth  century  as  the  date  of 
the  manuscript,  but  the  style  of  the  borders  shows  a  later  development 
of  art.  With  the  exception  of  brilliant  blue,  the  colours  of  the  large  minia- 
tures are  subdued.    The  Calendar  and  most  of  the  rubrics  are  in  French. 

HOR^   BEAT.E   MARI^  VIRGINIS.    S^c.   XV. 

4to,  brown  levant  morocco  elaborately  tooled  in  a  Grolieresque 
design  with  azured  scrolls,  the  compartments  thickly  studded 
with  dots,  vellum  linings,  gilt  edges,  by  Riviere.  In  a  blue 
levant  morocco  case. 

A  French  Book  of  Hours  written  in  gothic  letters  upon  vellum  in  the 
early  part  of  the  fifteenth  century.    202  X  147  mm. 

It  contains  144  leaves,  including  12  for  the  Calendar,  with  15  lines  to 
the  page;  12  large  miniatures  within  borders  and  5  other  borders,  of  a 
floral  design  in  brilliant  colours,  the  stems  traced  in  ink,  the  leaves  in 
burnished  gold. 

The  Calendar,  which  is  in  French,  is  written  in  red,  blue,  and  bur- 
nished gold  letters,  with  12  large  illuminated  initials. 


HOR.E  31 

The  subjects  of  the  miniatures  are  1.  (F.  19  r.)  The  Annunciation. 
2.  (F.  30  r.)  The  Visitation  of  EHzabeth.  3.  (F.  45  r.)  The  Nativity. 
4.  (F.  50  r.)  The  Announcement  to  the  Shepherds.  5.  (F.  53  v.)  The 
Adoration  of  the  Magi.  6.  (F.  56  v.)  The  Presentation  in  the  Temple. 
7.  (F.  59  V.)  The  Fhght  into  Egypt.  8.  (F.  65  v.)  The  Coronation  of  the 
Virgin.  9.  (F.  79  r.)  King  David  praying.  10.  (F.  98  r.)  The  Crucifixion. 
11.  (F.  101  V.)  The  Descent  of  the  Holy  Spirit.  12.  (F.  105  r.)  A  Burial 
Service. 

At  least  two  artists  appear  to  have  illuminated  this  manuscript,  for 
some  of  the  miniatures  are  in  more  brilliant  colours  and  more  elabo- 
rately detailed  than  others,  with  freer  use  of  burnished  gold.  The 
varying  expressions  of  the  faces  is  especially  remarkable,  also  the  grace- 
ful, rich  borders. 

Occasional  rubrics  and  the  final  prayer  (ff.  135-144)  beginning 
"Doulce  dame  de  misericorde,"  are  in  French. 

HOR.E  BEAT^   MARIvE  VIRGINIS.     S^c.   XV. 

Small  8vo,  Lavalliere  morocco  covered  with  mosaic  com- 
partments of  maroon  Tnorocco  tooled  in  flowers,  azured  orna- 
ments, and  dots,  doubled  with  vellum,  gilt  edges,  in  a  brown 
morocco  case,  by  Joly ;  his  last  mosaic  binding,  as  certified  by 
him  on  the  final  fly-leaf. 

A  French  Book  of  Hours  written  in  gothic  characters  upon  the  finest 
vellum  in  the  early  part  of  the  fifteenth  century.    171  X  97  mm. 

There  are  169  leaves  (folios  7,  22,  38,  49,  55,  60,  65,  and  105  blank), 
including  6  for  the  Calendar,  with  22  lines  to  the  page;  11  full-page 
miniatures  surrounded  by  borders  ornamented  in  the  Italian  arabesque 
style  in  camaieu  d'or  and  gris,  on  grounds  of  dull  gold  and  various  colours. 
There  are  24  borders  in  all,  11  around  the  miniatures,  and  as  many  on 
the  opposite  pages,  also  numerous  illuminated  initials  on  coloured  or 
dull  gold  grounds. 

The  subjects  of  the  miniatures,  which  are  all  on  the  verso  of  the  pages, 
are  1.  (F.  8.)  The  Crucifixion.  2.  (F.  15)  The  Descent  of  the  Holy 
Spirit.  3.  (F.  23)  The  Annunciation.  4.  (F.  39)  The  Visitation  of  Eliza- 
beth. 5.  (F.  50)  The  Nativity.  6.  (F.  56)  The  Announcement  to  the 
Shepherds.  7.  (F.  61)  The  Adoration  of  the  Magi,  one  of  whom  is 
black.    8.  (F.  69)  The  Flight  into  Egypt.    9.  (F.  76)  The  Coronation  of 


32  HORiE 

the  Virgin,  who  is  led  to  a  throne  upon  which  are  seated  God  the 
Father  and  God  the  Son,  attended  by  an  Angel.    10.  (F.  89  v.)  King 
David  praying.    11.  (F.  106)  The  Raising  of  Lazarus. 
The  colouring  throughout  the  volume  is  rich  and  varied. 

HORiE   BEAT^   MARI.E:  VIRGINIS.     [Circa  1430]. 

4^0,  crimson  velvet,  repousse  silver  clasps,  red  edges.  In 
a  wrapper  of  yellow  satin  embroidered  in  a  conventional 
design  in  terra  cotta  and  pink  silk,  and  lined  with  terra  cotta 
satin;  and  also  in  a  case  of- maroon  levant  morocco  lined  with 
maroon  velvet. 

A  beautiful  Book  of  Hours  executed  in  northern  France  in  gothic 
letters  upon  fine  vellum  during  the  first  half  of  the  fifteenth  century,  prob- 
ably about  1430.    202  X  142  mm. 

Including  the  12  folios  for  the  Calendar  it  contains  187  leaves,  with  17 
lines  to  the  page.  There  are  26  beautifully  painted  full-page  miniatures 
and  55  borders  of  fruit,  flowers,  birds,  scrolls,  and  figures,  all  but  3  sur- 
rounding the  miniatures  and  the  pages  opposite  them.  The  6  figures  in 
each  of  the  borders  differentiate  this  manuscript  from  all  the  others  in  the 
present  collection.  They  represent  warriors,  angels  playing  musical  in- 
struments (surrounding  miniatures  containing  the  Virgin  Mary),  monks 
and  other  ecclesiastics,  laymen  in  costumes  of  the  period,  shepherds,  and 
acrobats.  Accompanying  the  Prayer  to  St.  Francis  of  Assisi  (folio  181) 
is  a  border  containing  six  Franciscan  monks  painted  within  compart- 
ments outlined  by  the  rope  of  that  Order.  There  are  also  hundreds  of  in- 
itial letters  and  finials  in  colours  and  burnished  gold. 

The  subjects  of  the  miniatures,  which  have  oval  tops  and  are  all 
painted  on  the  verso  of  the  leaves,  are  1.  (F.  13)  The  Betrayal ;  the  Garden 
of  Olives  represented  as  a  wattled  enclosure,  with  a  hill  upon  which  is  the 
Holy  Grail.  2.  (F.  15)  The  Flagellation.  3.  (F.  17)  Christ  carrying  the 
Cross.  4.  (F.  20)  The  Entombment.  5.  (F.  22)  The  Resurrection.  6. 
(F.  24)  Christ  delivering  Souls  from  Hell ;  the  most  original  of  the  paint- 
ings in  design.  7.  (F.  27)  St.  John  the  Evangelist  on  Patmos.  8.  (F.  29) 
St.  Luke.  9.  (F.  32)  St.  Matthew.  10.  (F.  35)  St.  Mark.  11.  (F.  37) 
The  Virgin  Mary  and  the  Infant  Christ  under  a  canopy  of  roses  min- 
istered to  by  two  angels.  12.  (F.  43)  The  Annunciation ;  within  a  chapel. 
13.  (F.  61)  The  Visitation  of  Elizabeth;    in  the  background  a  walled 


HORiE  33 

castle  near  a  river.  14.  (F.  73)  The  Nativity;  an  angel  and  a  maid- 
servant attending  the  Holy  Family,  two  Shepherds  looking  into  the 
stable.  15.  (F.  78)  The  Announcement  to  the  Shepherds,  one  of  whom 
is  a  woman;  in  the  background  a  city  beside  a  river  upon  which  are 
several  ships;  in  the  two  borders  shepherds  and  warriors.  16.  (F.  83) 
The  Presentation  in  the  Temple ;  a  group  of  seven  persons  in  a  portico. 
17.  (F.  88)  The  Adoration  of  the  Magi.  18.  (F.  93)  The  Flight  into 
Egypt.  19.  (F.  101)  The  Coronation  of  the  Virgin.  20.  (F.  107)  King 
David  praying ;  in  the  background  an  island  upon  which  is  a  wind-mill. 
21.  (F.  128)  A  Burial  Service  in  a  chapel,  —  a  carefully  executed  paint- 
ing containing  statues  in  cama'ieu  bleu  in  the  vaulting  and  a  representa- 
tion of  God  the  Father  attended  by  two  angels  above  the  altar.  22. 
(F.  170)  The  Virgin  and  Child  ministered  to  by  an  angel.  23.  (F.  173) 
The  Virgin  at  work  weaving,  the  Infant  Christ  standing  at  her  knee ;  be- 
side her  sits  an  angel  winding  off  wool  upon  a  reel.  24.  (F.  182)  The 
Martyrdom  of  St.  Catherine.  25.  (F.  184)  St.  Mary  Magdalene.  26. 
(F.  186)  St.  Susanna  at  the  feet  of  Christ. 

In  composition  of  landscape  and  architectural  detail,  both  exterior  and 
interior,  this  manuscript  resembles  those  painted  by  the  artists  who 
illuminated  the  Bedford  Missal.  The  figure  of  St.  Mark  (f.  35)  would 
appear  to  have  been  painted  by  the  same  artist  who  executed  the  cor- 
responding miniature  in  that  volume.  Many  of  the  details  are  identical, 
—  the  vaulted  ceiling  with  several  windows  in  the  background,  the 
winged  lion  leaning  over  the  writing-desk,  the  instrument  for  steadying 
the  parchment,  which  St.  Mark  holds  in  his  left  hand,  and  the  tea-kettle 
hanging  over  the  same  kind  of  table.  The  colouring  of  the  miniatures  is 
brilliant  and  fresh. 

Upon  the  inside  of  the  cover  is  the  indorsement  in  Spanish,  dated 
1575,  by  a  Dominican  friar,  Juan  Perez,  to  the  effect  that  he  had  ex- 
amined and  corrected  the  manuscript  for  the  officials  of  the  Inquisition. 
There  are  one  or  two  erasures  in  the  text. 

HOR^   BEAT^   MARI.E   VIRGINIS  [Circa  1435]. 

Svo,  crimson  velvet,  with  repousse  plaque  in  silver  on  the 
front  cover,  silver  clasps,  gilt  edges.  On  the  inside  of  the 
clasp  is  engraved  the  name  of  Anna  Barbara  Magdalena 
Honoldin,  bom  1762. 

3 


34  HORiE 

A  French  Book  of  Hours  written  in  gothic  characters  upon  vellum 
about  1435.     216  X  152  mm. 

It  contains  189  leaves,  including  12  for  the  Calendar,  with  16  lines  to 
the  page,  and  16  half-page  miniatures,  besides  numerous  illuminated 
initials. 

Each  page  has  an  elegant  border  of  "line  and  leaf"  design  in  black 
tracery  and  gold.  At  the  four  corners  of  the  text  are  ornaments  formed  of 
interlacing  bands  of  blue  and  red  on  a  gold  ground.  Around  the  minia- 
tures are  remarkably  brilliant  borders  of  another  style  of  art,  supposed  to 
have  been  painted  by  the  same  artist  that  decorated  the  Bedford  Missal. 
They  are  of  scrolls,  flowers,  foliage,  etc.,  in  red,  blue,  and  green,  with 
gold  ornaments.  On  folio  51  the  background  is  of  gold  so  heavily  laid  on 
as  to  be  in  relief,  and  figures  and  animals  are  here  introduced.  At  the 
foot  of  the  border  on  folio  93  are  the  arms  of  the  Levis  family,  three 
chevrons  sable  on  a  gold  field,  and  on  folio  77  they  are  combined  with 
other  arms.  The  border  on  this  page  differs  from  most  of  the  others  in 
containing  birds  and  figures  of  the  prophets. 

The  subjects  of  the  miniatures  are  1,  (F.  23)  The  Annunciation. 
2.  (F.  42)  The  Visitation  of  Elizabeth.  3.  (F.  51)  The  Adoration  of  the 
Shepherds.  4.  (F.  56)  The  Announcement  to  the  Shepherds,  a  scene  of 
carefully  executed  detail,  5.  (F,  62)  The  Presentation  in  the  Temple. 
6.  (F.  66)  The  Flight  into  Egypt.  7.  (F.  72)  The  Coronation  of  the  Virgin ; 
of  exquisite  finish,  even  to  the  halos.  8.  (F.  77)  David  praying.  9.  (F.  93) 
The  Betrayal.  10.  (F.  98  v.)  Christ  before  Pilate.  11.  (F.  104)  The 
Scourging.  12.  (F.  107)  Christ  bearing  the  Cross.  13.  (F.  119)  The  En- 
tombment. 14.  (F.  126)  The  Descent  of  the  Holy  Ghost.  15.  (F.  130) 
A  Burial  Service.    16.  (F.  169)  The  Last  Judgment. 

All  of  the  miniatures  are  remarkable  for  their  originality  of  design, 
perfection  of  detail,  and  brilliancy  of  colour. 

HOR^  BEATiE  MARINE  VIRGINIS.    S^c.   XV. 

8vOy  brown  levant  morocco  tooled  in  a  Grolieresque  design 
of  fillets  and  azured  arabesques^  doubled  with  lighter  brown 
morocco  tooled  in  fillets,  vellum  guards,  gilt  edges,  by  Cham- 
bolle-Duru. 

A  French  Book  of  Hours  executed  upon  fine  vellum  in  the  early  part 
of  the  fifteenth  century,  evidently  for  use  in  England,  as  the  Martyrdom 


HOR.E  35 

of  St.  Thomas  a  Becket  and  St.  George  and  the  Dragon  are  depicted  in 
the  miniatures,  and  in  the  Calendar  are  the  names  of  those  English 
Saints  (December  29  and  April  23)  and  of  Edward  the  Confessor,  January 
5.  The  scribe  was  evidently  French,  as  on  folios  161-164  is  the  prayer 
"Les  XV  joyes  [de]  nostre  dame,"  beginning  "Douce  dame  de  miseri- 
corde."    212  X  145  mm. 

The  volume  contains  168  leaves  (folios  10,  159,  and  160  blank)  in- 
cluding 6  for  the  Calendar,  with  19  lines  to  the  page.  There  are  27 
large  finely  executed  miniatures  surrounded  by  borders  of  foliage, 
flowers,  scrolls,  and  figures,  in  red,  blue,  and  green,  with  stems  in  ink 
and  leaves  in  burnished  gold. 

The  Calendar,  written  in  red  and  black,  contains  12  initial  letters  in 
blue  and  red  heightened  with  burnished  gold,  from  which  issue  sprays  of 
flowers  and  foliage,  the  stems  in  ink,  the  leaves  in  gold,  as  in  the  borders. 
This  treatment  of  the  initial  letters  is  frequent  throughout  the  manuscript. 

The  subjects  of  the  miniatures  are  1.  (F.  7  r.)  The  Descent  of  the 
Holy  Spirit.  2.  (F.  11  r.)  The  Trinity.  3.  (F.  13  r.)  St.  John  the  Baptist 
in  the  Wilderness.  4.(F.  14  v.)  The  Martyrdom  of  St.  Thomas  a  Becket. 
5.  (F.  16  r.)  St.  George  and  the  Dragon.  6.  (F.  17  r.)  St.  Christopher. 
7.  (F.  18  v.)  St.  Catherine.  8.  (F.  20  r.)  St.  Mary  Magdalene.  9.  (F, 
21  V.)  St.  Margaret.  10.  (F.  22  v.)  St.  Barbara.  11.  (F.  24  r.)  Christ 
standing  on  a  golden  ball.  12.  (F.  31  r.)  The  Annunciation.  13.  (F.  37  v.) 
The  Betrayal.  14.  (F.  49  r.)  Christ  before  Pontius  Pilate.  15.  (F.  53  r.) 
The  Scourging.  16.  (F.  56  r.)  Christ  bearing  the  Cross.  17.  (F.  59  r.) 
The  Crucifixion.  18.  (F.  62  r.)  The  Descent  from  the  Cross.  19.  (F. 
64  V.)  The  Entombment.  20.  (F.  69  r.)  The  Coronation  of  the  Virgin, 
who  holds  the  Child.  21.  (F.  81  r.)  Adam  and  Eve  in  the  Garden  of 
Eden,  Christ  being  on  the  Cross  in  the  Tree  of  Knowledge.  22.  (F.  88  r.) 
The  Crucifixion  with  the  two  Thieves.  23.  (F.  89  r.)  The  Last  Judg- 
ment. 24.  (F.  106  r.)  A  Burial  Service.  25.  (F.  128  r.)  The  Ascension  to 
Heaven  of  three  Souls.  26.  (F.  141  r.)  The  Resurrection  of  Christ,  with 
all  the  symbols  of  the  Passion.    27.  (F.  147  r.)  St.  Jerome. 

The  paintings  are  interesting  for  their  quaintness  of  design,  especially 
Nos.  21,  23,  25,  and  26.  The  serpent  in  the  Garden  of  Eden  (folio  81) 
is  represented  as  a  long-haired  devil  with  claws  and  tail.  The  colouring 
is  brilliant,  particularly  the  reds,  one  shade  of  which  is  quite  unusual  in 
early  manuscripts.    The  faces  are  expressive  and  the  attention  to  detail, 


36  mmjE 

especially  of  costume,  is  noteworthy.     The  text  is  beautifully  written 
with  frequent  rubrication. 

On  the  verso  of  folio  30  are  the  arms  of  the  original  owner  painted  in 
gold  and  colours. 

HOR^  BEATiE   MARI^  VIRGINIS.     S^c.   XV. 

8vOy  vellum,  entirely  covered  with  borders  of  leaf-sprays, 
marguerites,  carnations,  acorns,  etc.,  and  the  interlaced 
initials  of  Henri  II  and  Diane  de  Poitiers  many  times  re- 
peated, gilt  edges.    In  a  modem  case  of  red  levant  morocco. 

A  French  Book  of  Hours  written  in  gothic  characters  upon  vellum  in 
the  eariy  part  of  the  fifteenth  century,  and  bound  later  for  Henri  II  (1518- 
1559)  and  Diane  de  Poitiers.    183  X  122  mm. 

There  are  73  leaves,  including  6  for  the  Calendar,  with  26  lines  to  the 
page.  The  illuminations  consist  of  12  large  and  27  small  miniatures  (of 
which  24  are  in  the  Calendar),  borders,  and  numerous  large  and  small 
initial  letters  in  gold  on  a  ground  of  blue  and  red,  or  white  on  a  ground 
of  gold.  The  Calendar  (except  the  first  page)  and  the  text  have  lateral 
borders  of  fruit,  flowers,  foliage,  scrolls,  grotesques,  etc.,  in  brilliant 
colours,  blue  predominating,  on  a  ground  of  white  or  gold,  the  latter  in 
geometrical  figures.  The  pages  containing  miniatures  have  (with  two 
exceptions)  full-page  borders  of  a  similar  design,  with  flowers  in  brilliant 
colours  and  scrolls  in  camaieu  gris  on  a  dull  gold  ground. 

Each  page  of  the  Calendar  contains  in  the  border  two  small  miniatures 
depicting  scenes  appropriate  to  the  month  and  the  zodiacal  signs,  except 
the  recto  of  the  first  folio,  which  has  a  full-page  border  containing  at  the 
foot  the  scene  for  the  month. 

The  subjects  of  the  large  miniatures  are  1.  (F.  7  r.)  The  Four  Evan- 
gelists, in  four  compartments.  2.  (F.  15  r.)  The  Annunciation,  in  a 
border  of  architectural  design,  at  the  foot  of  which  are  two  small  minia- 
tures of  the  meeting  of  Joachim  and  Anna  outside  the  Golden  Gate  and 
the  Virgin  Mary  as  a  child  going  up  to  the  Temple,  Joachim  and  Anna 
awaiting  her.  The  wall  back  of  the  Virgin  Mary  and  the  Angel  (in  the 
miniature  of  the  Annunciation)  has  a  blue  drapery  covered  with  fleurs- 
de-lys  in  gold.  3.  (F.  21  r.)  The  Visitation  of  Elizabeth,  who  is  attended 
by  two  angels.  4.  (F.  27  r.)  The  Crucifixion  between  the  two  thieves;  a 
group  of  nine  people  at  the  foot  of  the  Cross.    5.  (F.  28  r.)  The  Descent  of 


HORiE  37 

the  Holy  Spirit.  6.  (F.  29  r.)  The  Nativity.  7.  (F.  32  v.  )  The  Announce- 
ment to  four  Shepherds,  one  of  whom  is  a  woman.  8.  (F.  35  r.)  The 
Adoration  of  the  Magi,    9.  (F.  37  r.)  The  Presentation  in  the  Temple. 

10.  (F.  40  V.)  The  Coronation  of  the  Virgin  Mary  by  God  the  Father. 

11.  (F.  52  r.)  "Les  trois  vifs  et  les  trois  morts,"  the  three  living  on  horse- 
back, a  castle  in  the  background ;  in  an  architectural  border  of  blue  and 
shaded  gold,  with  a  small  miniature  at  the  foot  depicting  another  scene  of 
death.  12.  (F.  67  v.)  The  Pieta;  Mary  seated  at  the  foot  of  the  Cross, 
Christ  across  her  knees,  St.  John  the  Evangelist  and  Salome  attending 
her;  a  landscape  in  the  background.  The  paintings  are  quaint  in  treat- 
ment and  brilliant  in  colour. 

This  manuscript  is  chiefly  interesting  because  it  belonged  to  Diane  de 
Poitiers. 

HORyE  BEATJE  MARINE  VIRGINIS.     S^c.   XV. 

Small  4to,  red  levant  morocco,  back,  side  borders  and  centre 
ornaments  in  mosaic  of  dark  brown  morocco  richly  tooled  in 
heads  and  azured  arabesques,  vellum  linings,  gilt  edges,  by 
Lortic.    In  a  case  of  brown  levant  morocco. 

A  French  Book  of  Hours  written  in  gothic  characters  upon  vellum  in 
the  early  part  of  the  fifteenth  century.     122  X  91  mm. 

It  consists  of  224  leaves,  including  12  for  the  Calendar,  with  15  lines  to 
the  page.  Folios  42  and  121  are  blank.  There  are  20  curious  minia- 
tures painted  in  camaieu  gris  heightened  with  gold. 

The  borders  are  of  three  kinds,  scrolls  in  black  and  red  ink  issuing 
from  the  initial  letters;  unilateral  and  bilateral  "line  and  leaf"  borders  in 
black  and  burnished  gold  with  flowers  and  other  ornaments  in  colours; 
and  full-page  borders  around  the  miniatures,  —  "line  and  leaf,"  with 
scrolls,  animals,  and  figures  in  camaieu  gris  and  dull  gold.  There  are 
numerous  initial  letters  of  various  sizes  in  colours  and  burnished  gold, 
several  with  grotesque  heads. 

The  subjects  of  the  miniatures,  which  have  oval  tops,  are  1.  (F.  13  r.) 
The  Descent  of  the  Holy  Spirit.  2.  (F.  22  r.)  The  Ascension.  3.  (F.  26  r.) 
The  Trinity.  4.  (F.  28  v.)  Christ  teaching  his  disciples  to  pray.  5.  (F. 
31  r.)  The  Beheading  of  St.  James  the  Major  ( ?).  6.  (F,  33  r.)  The 
Crucifixion  of  St.  Andrew,  who  was  bound  by  cords  instead  of  by  nails. 
7.  (F.  35  V.)  The  Martyrdom  of  St.  Stephen.    8.  (F.  39  r.)  The  Martyr- 


415509 


38  HORiE 

dom  of  a  Saint  whose  feet  were  cut  off.  9.  (F.  59  r.)  The  Betrayal.  10. 
(F.  70  V.)  Christ  before  Pilate.  11.  (F.  82  r.)  The  Scourging.  12.  (F. 
87  V.)  The  Platting  of  the  Crown  of  Thorns.  13.  (F.  92  v.)  Christ  carry- 
ing the  Cross.  14.  (F.  97  v.)  The  Jews  mocking  Christ  on  the  Cross. 
15.  (F.  102  r.)  The  Descent  from  the  Cross.  16.  (F.  110  v.)  The  En- 
tombment. 17.  (F.  116  r.)  The  Crucifixion.  18.  (F.  122  r.)  King  David 
praying.  19.  (F.  142)  The  Last  Judgment.  20.  (F.  188  r.)  St. 
Barbara. 

The  subjects  of  some  of  the  miniatures  are  unusual  and  the  treatment 
is  interesting.  Two  scribes  evidently  worked  upon  the  manuscript,  as 
folios  43-58, 158-174  recto  and  207-224  differ  from  the  rest  of  the  volume. 
The  Calendar  and  several  of  the  rubrics  are  in  French. 

The  entire  manuscript  is  extremely  sombre  in  tone. 

HOR^  BEAT^   MARINE  VIRGINIS.     S.ec.   XV. 

4<to,  in  a  modem  French  binding  of  green  levant  morocco, 
richly  tooled  in  compartments  ^*au  pointille**  in  the  manner 
of  Le  Gascon^  doubled  with  red  morocco,  finished  in  a  style 
corres'ponding  with  the  interior,  gilt  edges.  In  a  green  morocco 
case  lined  with  blue  velvet. 

A  French  Book  of  Hours  written  in  large  and  small  gothic  letters  upon 
vellum  during  the  early  part  of  the  fifteenth  century.    227  X  160  mm. 

It  consists  of  253  leaves,  including  10  for  the  Calendar  (October  and 
November  are  lacking),  with  15  lines  to  the  page.  There  are  1 1  large  oval- 
topped  miniatures  surrounded  by  tracery  borders  introducing  flowers, 
foliage,  etc.,  also  many  illuminated  initials. 

The  subjects  of  the  miniatures  are  the  four  Evangelists,  the  Annuncia- 
tion, the  Visitation  of  Elizabeth,  the  Nativity,  etc.,  —  the  usual  paintings 
found  in  Horas. 

HOR^  BEAT^   MARINE  VIRGINIS.     S^c.   XV. 

4to,  original  oak  boards  covered  with  old  blue  velvet,  doubled 
with  old  vellum,  gilt  edges.    In  a  modem  cloth  case. 

A  superb  French  Book  of  Hours  written  in  gothic  characters  upon 
vellum  in  the  first  half  of  the  fifteenth  century.    241  X  161  mm. 

It  contains  170  leaves,  including  12  for  the  Calendar,  and  the  blank 


HOUiE  39 

folio  96,  with  15  lines  to  the  page.  These  are  39  large  and  874  small 
miniatures,  besides  the  55  on  the  24  pages  of  the  Calendar,  —  a  total 
of  968  paintings,  including  all  the  compartments. 

The  pages  of  the  Calendar,  which  is  written  in  French  in  letters  of  red, 
blue,  and  burnished  gold,  are  surrounded  by  beautiful  borders  of  minia- 
tures in  from  one  to  three  compartments.  On  the  verso  of  the  leaves  are 
the  signs  of  the  zodiac  in  medallion  form  painted  in  blue  heightened 
with  gold ;  on  the  rectos  are  similar  medallions  containing  scenes  appro- 
priate to  the  months,  and  interesting  in  their  conception,  e.  g.,  for  March, 
the  hewing  of  trees  (f.  3  r.)  and  Lenten  preaching  (f.  3  v.);  for  April, 
confession,  the  celebration  of  the  mass,  and  communion,  three  com- 
partments (f.  4  r.). 

u-  All  of  the  pages  of  text  are  surrounded  by  elaborate  and  carefully  exe- 
cuted "line  and  leaf"  borders  in  black  and  burnished  gold  with  comer 
sprays  of  flowers  in  blue,  green,  dull  red,  and  camaieu  d'or.  The  small 
miniatures  are  in  these  borders,  three  on  each  page,  at  the  top,  at  the 
outer  side,  and  at  the  bottom. 

The  subjects  of  the  large  miniatures,  which  are  almost  all  divided  into 
compartments,  are  1.  (F.  13  r.)  The  Four  Evangelists,  in  four  compart- 
ments at  the  top  of  the  page;  below,  the  Preaching  of  St.  John  the 
Evangelist  and  his  Martyrdom.  2.  (F.  15  r.)  The  Annunciation,  sur- 
rounded by  six  compartments :  Joachim  offering  the  lamb  to  Issacher,  the 
High- Priest;  Joachim,  surrounded  by  his  shepherds,  receiving  the  Mes- 
sage of  the  Angel ;  the  meeting  of  Joachim  and  Anna  before  the  Golden 
Gate ;  the  Birth  of  the  Virgin ;  her  Marriage  and  her  miraculous  Ascen- 
sion in  the  Temple.  3.  (F.  32  r.)  The  Visitation  of  Elizabeth;  in  the 
border,  Elizabeth  and  Mary  conversing,  the  Birth  of  John  the  Baptist, 
the  Baptism  of  Christ,  and  John  the  Baptist  preaching  in  the  Wilderness 
to  a  company  of  coloured  people.  4.  (F.  43  v.)  The  Nativity,  two  groups 
of  white  and  of  black  people  in  the  background ;  in  the  border  scenes  of 
feasting  and  dancing,  5.  (F.  47  v.)  The  Announcement  to  the  Shep- 
herds, two  of  whom  are  women.  This  miniature  covers  the  entire  page 
except  for  a  large  and  a  small  illuminated  initial  and  four  lines  of  text. 
6.  (F.  51  r.)  The  Adoration  of  the  Magi ;  in  the  border  two  compartments 
showing  the  three  Magi  on  horseback  with  a  cavalcade  on  their  way  to 
Bethlehem,  and  a  third  representing  them  in  the  Temple  saluting  the 
High-Priest  before  visiting  the  Manger.    7.  (F.  54  v.)  The  Presentation  in 


40  HOR^ 

the  Temple;  below,  the  Circumcision,  the  page  surrounded  by  an  archi- 
tectural border  in  cama'ieu  d'or  containing  niches  in  which  are  ten  figures 
of  Saints.  8.  (F.  58  r.)  The  Flight  into  Egypt;  in  the  border  the  pursuit 
by  Herod's  soldiers  and  the  Massacre  of  the  Innocents,  Herod  enthroned 
and  surrounded  by  his  courtiers.  9.  (F.  G3  v.)  The  Coronation  of  the 
Virgin  by  the  Trinity;  in  the  border  her  Death  and  Ascension.  10. 
(F.  83  V.)  The  Betrayal,  Judas  kissing  Christ;  in  the  border  are  three 
compartments,  Judas  receiving  money  from  the  High-Priest,  Christ 
washing  His  Disciples'  feet,  and  the  Last  Supper.  The  historiated  initial 
on  this  page  represents  Judas  hanging  himself.  11,  (F.  85  r.)  The  Des- 
cent of  the  Holy  Spirit;  in  two  lower  compartments  Christ  sitting  at 
meat  with  the  two  Disciples  at  Emmaus,  and  the  Ascension.  12.  (F.  86  v.) 
The  Agony  in  the  Garden ;  in  the  two  lower  compartments,  Christ  led 
before  Caiaphas  and  the  Scourging.  13.  (F.  88  r.)  Christ  bearing  the 
Cross,  preceded  by  the  two  thieves  chained  and  entirely  nude,  and  accom- 
panied by  priests  and  soldiers  on  horseback  leaving  the  gates  of  Jerusa- 
lem ;  in  the  two  lower  compartments,  the  making  of  the  Cross  and  a 
woman  forging  the  nails  on  an  anvil.  14.  (F.  89  v.)  The  nailing  of  Christ 
to  the  Cross ;  below,  St.  Veronica  with  the  Sudarium  and  St.  John  and 
women  saints  consoling  the  Virgin.  15.  (F.  91  r.)  The  Crucifixion,  a 
large  group  surrounding  the  three  Crosses.  This  is  one  of  the  finest  of 
the  miniatures  in  detail  and  colouring.  Below  are  the  soldiers  disput- 
ing and  casting  lots  for  the  garments.  16.  (F.  92  v.)  The  Descent  from 
the  Cross,  Joseph  of  Arimathea  and  his  servants,  St.  John,  the  Virgin, 
and  St.  Mary  Magdalene  assisting ;  below  is  a  representation  of  Christ 
on  the  Virgin's  lap,  surrounded  by  Joseph  of  Arimathea  and  the 
women.  17.  (F.  94  r.)  The  Entombment  and  the  Resurrection,  two 
compartments.  18.  (F,  97  r.)  King  David  praying;  in  the  border  David 
the  boy  tending  his  sheep  and  playing  the  harp,  and  David  slaying 
Goliath.  19.  (F.  116  r.)  The  Last  Judgment;  in  the  border  the  Devil 
driving  his  victims  into  the  flames;  above,  nine  groups  of  Saints;  in 
the  historiated  initial,  a  monk  kneeling  in  prayer.  20.  (F.  147  r.)  The 
Virgin  and  Child  surrounded  by  Angels ;  in  the  border  below,  two  women 
in  prayer,  of  whom  the  one  kneeling  on  the  prie-dieu  may  be  the  person 
for  whom  the  manuscript  was  executed.  21.  (F.  151  v.)  The  Trinity; 
below,  in  the  border,  the  Virgin  kneeling  in  prayer,  22.  (F.  152  v.)  The 
Martyrdom  of  St.  Peter  and  the  Conversion  of  St.  Paul,  blinded  on  the 


HOR^  41 

road  to  Damascus,  two  compartments  at  the  top;  below,  in  the  border, 
the  Martyrdom  of  St.  Paul.  23.  (F.  153  v.)  The  Martyrdom  of  St. 
John  the  Baptist;  below,  in  the  border,  Salome  carrying  his  head  to 
her  mother  and  Herod.  24.  (F.  154  v.)  St.  Michael  killing  the  dragon; 
below,  in  the  border,  angels  singing.  25.  (F.  155  v.)  The  Martyr- 
dom of  St.  Stephen ;  in  the  border  below,  St.  Stephen  disputing  with  the 
doctors.  26.  (F.  156  v.)  The  Martyrdom  of  St.  Laurence;  in  the  bor- 
der, below,  St.  Laurence  led  before  the  tribunal.  27.  (F.  157  v.)  St. 
Christopher  carrying  Christ;  below,  the  Martyrdom  of  St.  Christopher. 
28.  (F.  158  V.)  St.  George  killing  the  dragon;  below,  the  Martyrdom  of 
St.  George.  29.  (F,  159  v.)  St.  Nicholas  bringing  the  three  children  to 
life;  below,  the  consecration  of  St.  Nicholas  by  two  Bishops.  30,  (F. 
160  V.)  St.  Eloy  restoring  a  horse's  leg;  below,  his  consecration  at  Rouen 
as  Bishop  of  Noyon.  31.  (F.  161  v.)  St.  Martin  dividing  his  cloak  with 
the  beggar;  below,  his  consecration  as  Bishop  of  Tours.  32.  (F.  162  v.) 
The  Martyrdom  of  St.  Sebastian;  and  St.  Sebastian  preaching.  33.  (F. 
163  V.)  The  Temptation  of  St.  Anthony.  34.  (F.  164  v.)  Christ  appearing 
to  St.  Mary  Magdalene  in  the  Garden ;  below,  her  Communion  and  her 
Ascension.  35.  (F.  165  v.)  St.  Catherine  as  Queen,  holding  a  sword  and 
reading  a  book;  below,  her  martyrdom.  36.  (F.  166  v.)  St.  Margaret  in 
prison  with  the  dragon;  below,  St.  Margaret  tending  her  sheep.  37. 
(F.  157  V.)  The  Martyrdom  of  St.  Apollonia,  with  two  small  miniatures 
in  the  border.  38.  (F,  168  v.)  The  Eleven  Thousand  Virgins ;  two  minia- 
tures.   39.  (F.  169  V.)  Various  Saints. 

A  distinctive  feature  of  this  manuscript  is  that  the  three  miniatures  in 
the  border  of  each  page  not  containing  large  miniatures  are  repeated  on 
the  verso  of  the  page,  but  reversed.  These  small  miniatures  may  be 
divided  into  three  groups,  according  to  their  subjects:  1.  Sacred  scenes, 
e.  g.,  the  Creation  of  the  World,  the  Temptation  in  the  Garden  of  Eden, 
Adam  and  Eve  driven  from  the  Garden,  the  Murder  of  Abel,  ff.  16-24; 
the  history  of  Joseph,  in  35  miniatures,  ff.  25  et  seq. ;  the  story  of  Moses, 
a  long  series  beginning  on  f.  53;  the  Passion,  f.  86;  David's  life,  ff. 
97-108;  scenes  from  the  Apocalypse  and  the  lives  of  the  Saints.  2.  Ob- 
scoena  (ff.  81  and  109)  and  grotesques,  e.  g.,  imaginary  animals  such  as 
monsters  with  the  head  of  a  unicorn  and  the  tail  of  a  dragon,  lions, 
eagles  and  camels  with  double  and  triple  heads,  nude  boys  or  monkeys 
mounted  on  chimeras,  monkeys  or  other  animals  playing  on  musical  in- 


42  HOR.E 

struments,  a  mouse  sitting  before  a  cat,  etc.  3.  Scenes  from  celebrated 
romances  or  fabliaux  of  the  Middle  Ages,  possibly  from  the  collection  of 
fables  and  moralities  known  as  Ysopet. 

At  least  two  artists  painted  the  beautiful  miniatures  in  this  manu- 
script (cf.  S.  91,  92,  94,  and  97),  the  more  skilful  of  the  two  having  exe- 
cuted the  greater  number.  Both  belonged  to  the  school  of  Touraine,  and 
it  is  not  improbable  that  the  manuscript  was  executed  in  Tours,  as  in  the 
background  of  the  large  miniature  representing  St.  Martin  (f.  161  v.)  is 
the  church  of  St.-Martin-de-Tours,  exactly  as  it  was  in  the  fifteenth  cen- 
tury, with  its  three  Roman  towers.  On  the  gable  is  a  gilded  statue  of  St. 
Martin. 

Fleurs-de-lys  occur  in  twelve  of  the  small  miniatures,  but  probably  only 
as  ornaments.  At  the  bottom  of  folio  86  recto  is  a  centaur  blowing  a 
trumpet,  upon  a  banner  attached  to  which  is  a  double-headed  eagle,  possi- 
bly a  coat-of-arms. 

In  variety  of  composition,. beauty  of  colouring,  delicacy  of  finish,  and 
immaculateness,  this  manuscript  is  one  of  the  finest  examples  of  French 
miniature  art  of  the  period.  It  was  formerly  in  the  collection  of  Henri 
Bordes. 

HOR^  BEATM  MARINE  VIRGINIS.    S^c.   XV. 

8vOy  old  calf,  with  the  sides  stamped  and  tooled  in  gold, 
gilt  edges.    In  a  crimson  morocco  case. 

A  Flemish  Book  of  Hours  written  in  gothic  characters  upon  vellum 
during  the  first  half  of  the  fifteenth  century,  and  evidently  intended  for 
use  in  France.    189  X  130  mm. 

It  contains  169  leaves,  including  6  for  the  Calendar,  with  18  lines  to 
the  page.  There  are  13  large  and  45  small  miniatures,  including  24  in 
the  Calendar,  numerous  initial  letters,  and  borders  of  scrolls,  flowers, 
foliage,  birds,  grotesques,  etc.,  in  brilliant  colours  on  grounds  of  white 
and  dull  gold  in  compartments,  in  the  characteristic  Flemish  manner. 
The  borders  accompanying  the  text  are  lateral,  those  around  the  large 
miniatures  are  full-page.  The  latter  contain  inner  borders  of  blue  and 
red  ornaments  on  a  burnished  gold  ground,  and  the  miniatures  them- 
selves are  within  architectural  borders,  oval  at  the  top,  painted  in  shaded 
gold,  red,  blue,  etc. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13  r.)  The  Betrayal. 


HOR^  43 

2.  (F.  29  r.)  The  Annunciation;  the  Dove  descending  along  rays  of  light 
emanating  from  God  the  Father  in  the  sky.  This  is  one  of  the  most  care- 
fully painted  of  the  miniatures.  3.  (F.  49  r.)  The  Visitation  of  Elizabeth. 
4.  (F.  59  r.)  The  Nativity.  5.  (F.  64  v.)  The  Announcement  to  the 
Shepherds,  one  of  whom  is  a  woman.  The  angel  in  the  sky  bears  a  scroll 
with  the  inscription  "Gloria  in  excelsis  deo  et  in."  6.  (F,  69  r.)  The 
Adoration  of  the  Magi.  7.  (F.  73  r.)  The  Presentation  in  the  Temple.  8. 
(F.  77  r.)  The  Massacre  of  the  Innocents;  a  mother  with  her  dead  child 
kneeling  before  Herod,  on  the  ground  a  second  corpse,  in  the  back- 
ground a  soldier  killing  a  third  child.  9.  (F.  83  v.)  The  Coronation  of 
the  Virgin.  10.  (F.  89  r.)  The  Crucifixion.  11.  (F.  96  v.)  The  Descent  of 
the  Holy  Spirit.  12.  (F.  102  r.)  David  and  Bathsheba.  13.  (F.  118  v.) 
Job  and  a  group  of  neighbours ;  in  the  background  a  castle. 

The  subjects  of  the  small  miniatures  are  (ff.  7-12)  the  Four  Evangel- 
ists; (ff.  23-26)  the  Virgin  and  Child  and  the  Pieta;  (ff.  160-169)  St. 
Michael,  St.  John  the  Baptist,  St.  John  the  Evangelist,  Sts.  Peter  and 
Paul,  St.  Laurence,  St.  Eustace,  St.  Fiacre,  St.  Nicholas,  St.  Claudius, 
St.  Anthony,  St.  Maur,  St.  Mary  Magdalene,  St.  Catherine,  St.  Margaret, 
and  St.  Genevieve. 

From  the  fact  that  there  is  a  special  prayer  to  St.  Genevieve  and  an 
accompanying  miniature,  and  that  in  the  Calendar  occur  the  names  of 
St.  Martin  and  St.  Dionysius,  written  in  burnished  gold,  it  may  be  in- 
ferred that  this  manuscript  was  intended  for  use  in  France. 

Neither  the  painters  of  the  miniatures  nor  of  the  borders  were  artists 
of  the  first  rank,  but  the  colouring  is  good,  being  subdued  rather  than 
brilliant,  with  frequent  use  of  camaieu  (Tor. 

HORiE  BEAT^   MARI^  VIRGINIS.     S^c.   XV. 

4to,  original  brown  morocco  binding  stamped  in  panels, 
silver-gilt  clasp,  gaufjred  gilt  edges. 

A  Flemish  Book  of  Hours  executed  in  large  gothic  characters  upon 
vellum  during  the  first  half  of  the  fifteenth  century,  presumably  for  use 
in  France,  according  to  the  hagiographical  indications  in  the  Calendar. 
205  X  137  mm. 

It  contains  164  leaves,  with  15  fines  to  the  page,  besides  9  preliminary 
and  final  leaves  of  prayers  in  script.  Folio  26  is  blank.  There  are  13  large 
miniatures  surrounded  by  "line  and  leaf"  borders  in  black  and  bur- 


44  HOR.E 

nished  gold,  with  flowers  and  scrolls  in  brilliant  colours,  besides  hun- 
dreds of  illuminated  initials. 

The  subjects  of  the  miniatures  are  1.  (F.  27  r.)  The  Annunciation. 
2.  (F.  43  V.)  The  Visitation  of  Elizabeth.  3.  (F.  54  r.)  The  Nativity. 
4.  (F.  58  V.)  The  Announcement  to  the  Shepherds,  one  of  whom  is  a 
woman.  5.  (F.  63  r.)  The  Adoration  of  the  Magi.  6.  (F.  67  r.)  The 
Presentation  in  the  Temple.  7.  (F.  71  r.)  The  Flight  into  Egypt.  8. 
(F.  78  r.)  The  Coronation  of  the  Virgin.  9.  (F.  91  r.)  King  David  pray- 
ing. 10.  (F.  Ill  r.)  The  Crucifixion.  11.  (F.  114  v.)  The  Descent  of  the 
Holy  Spirit,  12.  (F.  117  v.)  A  Burial  Service  within  a  chapel.  13. 
(F.  157  r.)  The  Virgin  and  Child  seated  in  a  rose-arbour,  attended 
by  an  angel  playing  a  flageolet. 

Several  of  the  prayers  and  rubrics  are  in  French.  Although  not  in  the 
highest  style  of  art  of  the  period,  this  volume  is  interesting  as  a  fine, 
boldly  executed,  and  well  preserved  example  of  Flemish  work. 

HORiE   BEATyE   MARIiE  VIRGINIS.     S^c.   XV. 

4to,  in  an  eighteenth  century  English  binding  of  repousse 
silver  in  an  arabesque  design  upon  red  velvet,  having  in  the 
centre  a  blank  escutcheon  surmounted  by  a  crown  upheld  by 
two  lions  rampant,  repousse  clasps,  a  silver  chain  attached  at 
the  top,  gilt  edges. 

A  Flemish  Book  of  Hours  written  in  large  gothic  letters  upon  vellum 
during  the  first  half  of  the  fifteenth  century.     157  X  109  mm. 

There  are  195  leaves,  including  6  for  the  Calendar,  with  14  lines  to  the 
page.  The  illuminations  are  12  large  and  6  small  miniatures,  somewhat 
rude  in  execution,  all  surrounded  by  architectural  borders  in  shaded 
gold,  introducing  red,  green,  and  blue,  besides  numerous  illuminated 
initials. 

The  subjects  of  the  large  miniatures  (folios  7-122)  are  the  Betrayal, 
St.  John  the  Evangelist  blessing  the  dead,  the  Annunciation,  the  Vision 
of  the  Virgin  and  Child  by  Caesar  Augustus,  prophesied  by  the  Sibyl 
Tiburtina,  the  Nativity,  the  Adoration  of  the  Magi,  the  Presentation  in 
the  Temple,  the  Flight,  the  Death  of  the  Virgin,  the  Crucifixion,  the 
Descent  of  the  Holy  Spirit,  David  as  a  warrior  kneeling  to  receive  the 
blessing  of  the  Prophet  Nathan. 

The  subjects  of  the  small  miniatures  (folios  23-37)  are  St.  Luke,  St. 


HORiE  45 

Matthew,  and  St.  Mark,  the  Pieta,  the  Virgin  and  Child,  and  the  Virgin 
at  the  foot  of  the  Cross. 

HOR^   BEAT.E   MARINE  VIRGINIS.    S^c.   XV. 

4>to,  old  French  red  morocco,  side  panels  with  comer  orna- 
ments, gilt  back,  gauffred  gilt  edges.  In  an  old  case  of  mottled 
calf. 

A  Flemish  Book  of  Hours  written  in  large  and  small  gothic  characters 
upon  vellum  in  the  first  part  of  the  fifteenth  century,    210  X  150  mm. 

It  contains  170  leaves,  including  12  for  the  Calendar,  with  15  lines  to 
the  page.  Folios  20,  84,  and  126  are  blank.  There  are  12  large  miniatures 
with  oval  tops,  2  historiated  initials,  and  numerous  large  and  small 
capitals  in  colours  and  burnished  gold. 

The  arrangement  of  the  borders  is  somewhat  unusual :  throughout  the 
greater  part  of  the  manuscript  the  rectos  of  the  folios  have  two  lateral 
borders,  one  on  each  side  of  the  page,  and  the  versos  one  border  only,  in  a 
delicately  executed  "line  and  leaf"  design  in  black  and  burnished  gold 
with  small  but  brilliant  flowers.  The  borders  around  all  of  the  large 
miniatures  except  the  first  and  the  ninth  are  of  a  similar  character  but 
more  elaborate,  with  an  inner  narrow  border  of  a  conventional  design 
in  red  and  blue  on  a  ground  of  burnished  gold.  The  borders  on  folios 
21  and  85  are  composed  of  thickly  interlaced  foliage,  flowers  and  scrolls 
producing  a  very  brilliant  effect.  These  pages  contain  the  two  historiated 
initials,  Joseph  hammering  legs  into  a  table,  and  King  David  writing  the 
Psalms.  In  the  lower  part  of  this  first  border  are  two  tiny  miniatures 
representing  an  Angel  bringing  food  and  the  Virgin  weaving.  The  full- 
page  borders  on  folios  13,  77,  118,  and  122  are  of  a  "line  and  leaf" 
design. 

The  subjects  of  the  miniatures  are  1.  (F.  21  r.)  The  Annunciation. 
2.  (F.  32  V.)  The  Visitation  of  Elizabeth ;  in  the  distance  a  castle  against  a 
diapered  background  of  blue,  red,  and  burnished  gold.  3.  (F.  44  r.)  The 
Nativity,  a  quaint  composition  showing  castles  in  the  distance  against 
a  star-lit  sky  and  the  shepherds  worshipping.  4.  (F.  50  v.)  The  An- 
nouncement to  two  Shepherds.  5.  (F.  55  v.)  The  Adoration  of  the  Magi. 
6.  (F.  59  V.)  The  Presentation  in  the  Temple;  a  woman  (probably 
Salome)  bearing  two  turtle-doves  in  a  basket.  7.  (F.  64  r.)  The  Flight 
into  Egypt,  with  a  diapered  background  similar  to  that  in  No.  2.     8. 


46  IIORJE 

(F.  71  r.)  The  Coronation  of  the  Virgin  by  God  the  Father,  an  Angel 
kneeling  behind  Mary,  the  background  in  a  diaper  design.  9.  (F.  85  r.) 
King  David  praying.  10.  (F.  103  r.)  The  Crucifixion,  the  Virgin  and  St. 
John  the  Evangelist  at  the  Cross.  11.  (F.  Ill  r.)  The  Descent  of  the  Holy 
Spirit.    12.  (F.  127  r.)  A  Burial  Service  in  a  church-yard. 

Two  artists  evidently  painted  the  illuminations  in  this  manuscript, 
for  the  borders  appear  to  be  French  and  the  miniatures  Flemish. 

On  folio  82  is  a  prayer  in  French  to  "Madame  Sainte  Margerite."  At 
the  foot  of  folio  13  is  written  "Monasterii  t  Celle  Abbatis  Sept." 

HOR^  BEATiE  MARI^  VIRGINIS  secundum  Usum 
Anglic.     Circa  1440. 

Folio,  old  crimson  velvet  with  elaborate  comer  pieces  and 
clasps  of  old  silver  niello  work  depicting  Biblical  scenes,  gilt 
edges.     In  a  case  of  brown  morocco. 

An  English  Book  of  Hours  written  in  gothic  characters  upon  vellum 
about  1440  presumably  for  William  Herbert,  first  Earl  of  Pembroke. 
290  X  210  mm. 

It  is  divided  into  three  parts,  the  first  and  third  (folios  1-20  and  1-14) 
consisting  of  English  and  I^atin  prayers  which  were  added  about  the 
middle  of  the  sixteenth  century.  The  Hours  proper  are  written  upon  195 
leaves,  with  two  columns  to  the  page  and  28  lines  in  each  column.  The 
description  of  the  miniatures  is  according  to  the  consecutive  foliation  of 
the  three  parts. 

The  illuminations  consist  of  284  exquisitely  painted  miniatures,  of 
which  29  are  full-page  with  borders,  and  260  smaller,  the  latter  including 
24  in  the  Calendar  and  161  in  the  Psalter;  also  42  full-page  borders  of 
flowers,  birds,  chimeras,  and  human  figures  in  brilliant  colours  height- 
ened with  shaded  gold,  besides  hundreds  of  large  and  small  illuminated 
initial  letters. 

The  subjects  of  the  large  miniatures  are  1.  (F.  27  v.)  The  Agony  in 
the  Garden ;  in  the  sky  God  the  Father  and  four  angels,  in  the  background 
Judas  and  a  company  of  soldiers  entering  the  Garden  through  a  gate. 
2.  (F.  28  r.)  The  Annunciation;  the  scene  is  a  carefully  finished  library, 
through  the  open  window  of  which  is  a  charming  little  landscape;  from 
the  upper  left-hand  corner  golden  rays,  through  which  flies  a  white  dove, 
are  shed  upon  the  Virgin  from  the  mouth  of  God  the  Father;  below  Him 


HORiE  47 

is  an  archway  leading  into  a  garden.  3.  (F.  32  v.)  The  Betrayal;  a 
large  group  of  Roman  soldiers,  to  the  left,  outside  the  Garden,  Sts. 
James  and  John,  in  the  background  the  towers  of  Jerusalem.  4.  (F. 
33  r.)  The  Visitation  of  Elizabeth;  Zacharias  approaching  through  a 
courtyard  at  the  right,  a  river  and  a  landscape  in  the  background  at  the 
left.  5.  (F.  51  V.)  Christ  before  Pilate;  through  a  window  at  the  back  of 
the  Judgment  Hall,  which  is  open  at  the  side,  with  roof  having  a  clock- 
tower,  is  a  tiny  landscape.  6.  (F.  52  r.)  The  Nativity;  two  angels  kneel- 
ing at  the  right,  God  the  Father  at  the  top  of  the  painting  shedding  rays 
of  light  on  the  Infant  Christ ;  in  the  background  a  landscape  with  a  river 
and  the  towers  of  Jerusalem.  7.  (F.  55  v.)  The  Scourging;  through  an 
open  doorway  at  the  right  is  seen  the  hall  of  Pilate  with  Roman  soldiers, 
at  the  left  two  windows  commanding  landscapes.  8.  (F.  56  r.)  The  An- 
nouncement to  the  Shepherds;  the  scene  is  a  field  across  which  runs  a 
wattled  fold;  in  the  background  the  towers  of  Jerusalem.  9.  (F.  58  v.) 
Christ  carrying  the  Cross ;  in  the  left  background  the  Virgin  Mary  and 
others  issuing  from  the  doorway  of  Pilate's  house.  The  costumes  of  the 
soldiers  in  this  painting  are  especially  curious  and  interesting.  10. 
(F.  59  r.)  The  Adoration  of  the  Magi.  11.  (F.  61  v.)  The  Crucifixion; 
the  Cross  is  surmounted  by  a  small  figure  representing  God  the  Father  in 
the  act  of  blessing ;  on  the  right  a  group  of  Roman  soldiers,  the  foremost 
of  whom  is  the  Centurion,  who  raises  his  hand  towards  the  Cross ;  above 
him  on  a  scroll  is  the  legend  "Vere  filius  dei  erat."  At  the  left  are  holy 
women,  in  the  background  the  towers  of  Jerusalem.  12.  (F.  62  r.)  The 
Presentation  in  the  Temple;  a  group  of  ten  persons.  13.  (F.  64  v.)  The 
Descent  from  the  Cross ;  Nicodemus  and  Joseph  of  Arimathea  receiv- 
ing the  body.  14.  (F.  65  r.)  The  Massacre  of  the  Innocents;  Herod,  en- 
throned, lifts  his  sceptre  to  strike  a  child  held  by  a  soldier ;  through  the 
windows  and  an  open  archway  is  a  landscape.  15.  (F.  68  v.)  The  Entomb- 
ment ;  Joseph  of  Arimathea  at  the  head  of  the  tomb,  Nicodemus  at  the 
foot,  M-ary  Magdalene  anointing  Christ's  hand;  a  group  of  eleven  per- 
sons. In  the  background  are  boats  sailing  on  a  winding  river,  at  the 
left  a  man  rowing  a  boat  from  under  the  water-gate  of  a  castle.  16. 
(F.  69  r.)  The  Flight  into  Egypt;  in  the  background  the  towers  of  Jeru- 
salem, a  troop  of  horsemen  issuing  from  a  gateway  in  pursuit  of  the 
fugitives.  17.  (F.  73  v.)  The  Last  Judgment;  Christ  seated  on  a  rain- 
bow, the  graves  opening  below,  at  the  left  the  gate  of  Heaven  guarded  by 


48  HORiE 

St.  Peter,  at  the  right,  the  jaws  of  Hell,  near  which  hovers  St.  Michael, 
with  sword  and  scales  in  hand.  18.  (F.  83  v.)  The  Raising  of  Lazarus; 
the  scene  is  the  interior  of  a  church,  an  unusual  composition.  19.  (F. 
101  V.)  Christ  in  the  act  of  blessing;  at  the  right  kneels  an  angel  in 
prayer,  at  the  left  are  two  angels  playing  the  harp  and  the  viol,  on  the 
columns  at  the  side  stand  four  angels  blowing  trumpets;  in  the  back- 
ground a  landscape.  20.  (F.  109  v.)  Asaph  writing  the  Psalms,  seated  in 
a  circular  chair,  his  feet  on  a  foot-stool,  beside  a  blazing  wood  fire  in  an 
open  bed-chamber ;  he  wears  a  curious  hat  and  a  pair  of  horn  spectacles. 
21.  (F.  120  V.)  The  Resurrection;  Christ  standing  on  the  top  of  the 
sepulchre  surrounded  by  the  symbols  of  the  Passion  and  the  heads  of 
Herod,  Pilate,  Annas,  Caiaphas,  and  Judas.  22.  (F.  124  v.)  Three  com- 
partments; the  one  on  the  left  depicts  Jerusalem,  in  the  foreground 
David  and  his  followers  at  the  end  of  a  winding  path  leading  from  the  city- 
gate;  in  the  upper  right-hand  corner  the  High-Priest  carrying  the  holy 
oil  issues  from  the  city-gate  accompanied  by  the  chief  men  of  the  city; 
in  the  lower  right-hand  corner  five  minstrels  precede  a  priest  who  carries 
a  crown  of  gold  and  is  followed  by  singers  and  women  playing  on  harps 
and  viols.  23.  (F.  133  v.)  The  Siege  of  Jerusalem;  soldiers  in  the  fore- 
ground, one  of  them  discharging  a  large  cannon  pointed  towards  the 
walls  of  the  city,  in  which  a  breach  has  already  been  made.  In  the  streets 
are  women,  one  lamenting  over  a  dead  body.  24.  (F.  142  v.)  David 
standing  on  a  hill  beyond  Jerusalem  overlooking  the  city ;  in  the  streets 
of  the  town  and  in  the  temple,  a  curious  round  building,  the  soldiers  of 
Antiochus  are  slaying  their  victims ;  at  the  left,  approaching  the  city,  is  a 
large  party  of  horsemen ;  at  the  right  is  a  greensward  enclosed  by  a  wall, 
within  which  is  a  mother  exhorting  her  seven  sons,  an  illustration  of 
Maccabees  2,  7,  "  The  constancy  and  cruel  death  of  seven  brethren  and 
their  mother  in  one  day,  because  they  would  not  eat  swine's  flesh  at  the 
king's  commandment."  Near  by  stands  Antiochus  with  the  swine's  flesh 
in  his  hand.  25.  (F.  151  v.)  Three  scenes  from  the  Passion ;  in  the  lower 
right-hand  corner,  Christ  before  Pilate ;  at  the  left,  the  Scourging,  in  an 
open  alcove  reached  by  steps;  at  the  top  of  the  page,  the  Crucifixion. 
26.  (F.  161  V.)  Asaph  seated  in  the  forecourt  of  a  house  beating  time  for 
three  singers;  on  the  left  and  right  are  fruit-gatherers;  at  the  top  is  a 
view  of  a  service  in  an  open-air  church.  27.  (F.  171  v.)  In  the  background 
a  group  of  buildings  symbolising  the  world,  to  which  God  the  Father 


HORiE  49 

sends  His  Son,  indicated  by  a  child  descending  from  the  mouth  of  the 
Father  through  golden  rays.  In  the  foreground  is  a  group  of  twelve 
persons,  possibly  representing  prophets,  who  observe  the  vision  of  Christ. 
At  the  left  is  a  rocky  prison  through  the  bars  of  which  are  seen  victims 
awaiting  their  deliverance.  28.  (F.  181  v.)  A  painting  in  five  compart- 
ments ;  in  the  lower  left-hand  corner  is  David  lying  on  a  couch  from 
which  he  foresees  in  a  vision  the  Death  of  Christ ;  above  are  depicted  the 
Last  Supper,  the  crucified  Christ  adored  by  angels,  Christ  holding  the 
chalice  containing  the  host  and  a  globe,  in  the  lower  right-hand  corner 
the  celebration  of  the  mass.  29.  (F.  186  v.)  The  Ascension  of  a  Soul  to 
Heaven,  quaintly  represented  by  a  nude  figure  standing  in  a  sheet  up- 
borne by  four  angels.  Above  are  Christ  and  a  choir  of  angels,  below  is  the 
open  grave. 

The  24  small  miniatures  in  the  Calendar  are  circular  and  occur  at 
the  bottom  of  the  pages  within  borders  of  scrolls  and  flowers  in  colours 
heightened  with  gold.  They  represent  scenes  appropriate  to  the  months 
and  the  zodiacal  signs.  Beginning  with  a  small  miniature  of  Esdras 
on  folio  110  recto  are  161  paintings  illustrating  the  150  Psalms.  To 
each  Psalm  is  given  a  title-heading  written  in  red  ink,  which  is  said  to 
be  peculiar  to  the  present  manuscript,  e.  g.,  title  to  Psalm  I,  "Hue 
pfalmu  fecit  efdras  quado  renouaint  legem  dni  cobufta."  After  the 
miniatures  illustrating  the  Psalter  are  12  others  accompanying  Cantica. 
Preceding  the  Psalter  are  63  more  small  paintings,  of  which  55  are  of 
saints,  including  St.  Thomas  of  Canterbury,  St.  George,  St.  Edmund, 
and  St.  Edward. 

To  each  day  of  the  month  in  the  Calendar,  which  occupies  six  leaves, 
is  assigned  a  Latin  verse,  which  usually,  but  not  invariably,  rhymes  in 
couplets.  Where  the  saints'  days  or  festivals  occur,  the  name  of  the 
saint  or  festival  is  skilfully  introduced  in  the  verse.  The  Calendar  is  of 
further  interest  because  of  its  marginal  notes  in  Latin,  written  in  a  legible, 
clerical  hand,  e.  q.y  opposite  February  23,  "Obitus  Humfridi  ducis 
glouceftrie  anno  dni  M'mo.  ccccxlvi  apud  Byrie."  There  are  nine  of 
these  entries,  all  relating  either  to  the  House  of  York  or  to  victories 
gained  by  the  Yorkists.  The  scribe  was  probably  the  chaplain  of  the 
owner  of  the  manuscript,  who  must  have  been  a  partisan  of  the  House 
of  York.  He  would  appear  to  have  had  a  special  interest  in  Richard, 
Duke  of  Gloucester,  afterwards  Richard  III,  of  whom  he  records  the 
birth  and  marriage,  and  also  the  birth  of  his  eldest  son. 

4 


50  HOR^ 

Although  the  volume  was  presumably  executed  in  England,  the 
illuminations  appear  to  have  been  painted  by  French  and  Flemish 
artists. 

There  is  every  reason  to  believe  that  this  manuscript  was  made  for 
AVilliam  Herbert,  first  Earl  of  Pembroke.  That  his  grandson  owned  it  in 
the  middle  of  the  sixteenth  century  is  abundantly  shown  by  the  20  pre- 
liminary and  14  final  leaves  bound  up  with  the  volume.  The  first  pre- 
liminary leaf  contains  the  illuminated  arms  of  William  Herbert,  Earl  of 
Pembroke,  who  was  made  Knight  of  the  Garter  in  1548  for  services 
rendered  to  Henry  VIII,  by  whom  he  was  appointed  one  of  the  executors 
of  his  will  and  a  guardian  and  councillor  to  his  son,  Edward  VI.  On  the 
second  leaf  is  painted  a  full-length  portrait  of  the  Earl,  clad  in  silver  and 
gold  armour,  kneeling  at  a  prie-dieu,  before  an  altar,  probably  of  the 
old  chapel  at  Wilton.  To  a  pillar  are  attached  his  arms.  The  eighteen 
leaves  following  contain  Latin  prayers  apparently  written  in  the  reign  of 
Philip  and  Mary  (1553-58).  The  first  three  leaves  have  borders  of 
flowers,  scrolls,  etc.,  and  there  are  numerous  illuminated  initials. 

The  fourteen  final  leaves  contain  prayers  in  English,  written  in  a  bold 
gothic  character  of  the  sixteenth  century,  the  first  page  having  an  illum- 
inated border.  As  these  prayers  were  printed  in  1545  and  edited  by 
Queen  Catherine  Parr,  and  as  her  sister  was  first  wife  of  William  Her- 
bert, Earl  of  Pembroke,  it  is  by  no  means  improbable  that  the  Queen 
wrote  them  especially  for  the  use  of  her  brother-in-law. 
From  the  Borghese  and  Castellani  collections. 

HOR^  BEATJE  MARI^  VIRGINIS.     Circa  1450. 

[Folio  42  recto]  Incipiunt  hore  beate  marie  virgis  fecun- 
dum  confuetudinem  anglie.  4to,  dark  brown  levant  mo- 
roccOf  tooled  in  a  Grolieresque  design  of  interlacing  mosaic 
bands  in  green,  light  brown,  red,  and  blue  morocco  and  small 
mosaic  ornaments,  doubled  with  red  morocco,  narrow  borders, 
red  moire  silk  guards,  gilt  edges,  in  a  brown  levant  morocco 
case,  by  Lortic. 

A  Book  of  Hours  written  upon  vellum  for  use  in  England  about  1450. 
194  X  136  mm. 

From  the  prayers  addressed  to  English  Saints  (e.  g.,  St.  George,  folio 


HOR^  51 

28),  the  costumes  of  many  of  the  figures,  especially  in  the  Calendar,  and 
the  general  character  of  the  art  in  the  miniatures,  it  would  appear  to 
be  of  English  execution.  Sir  Francis  Palgrave,  however,  judged  it  to 
be  French,  and  other  authorities,  Flemish.  It  was  possibly  executed  by 
an  English  scribe  and  foreign  artists  in  England. 

It  contains  192  leaves,  including  12  for  the  Calendar,  with  18  lines  to 
the  page.  There  are  23  large  miniatures,  24  small  ones  in  the  Calendar, 
and,  in  the  text,  20  historiated  initials  (folios  58-63  and  90-108)  repre- 
senting saints  and  scenes  from  the  life  of  Christ,  besides  numerous  il- 
luminated initials. 

The  46  borders,  apparently  by  French  artists,  are  of  different  execu- 
tion from  the  miniatures,  which,  in  their  quaintness  and  frequent 
crudeness,  represent  a  less  advanced  stage  of  art.  The  borders  are  com- 
posed of  flowers  and  fruit  in  gold  and  colours,  blue  predominating,  with 
stems  traced  in  ink.  On  many  pages  are  floral  ornaments  of  black,  gold, 
and  colours  issuing  from  initial  letters,  —  the  forerunner  of  the  separate 
border.  The  Calendar  has  12  illuminated  initials  and  no  borders.  At 
the  beginning  of  each  month  are  two  miniatures  depicting  appropriate 
scenes  accompanied  by  the  signs  of  the  zodiac. 

The  subjects  of  the  large  miniatures,  which  are  painted  on  the  versos 
of  the  leaves,  are  1.  (F.  13)  Christ  standing  before  a  screen  held  by  two 
angels,  an  open  book  in  the  left  hand,  the  right  raised,  a  golden  ball  be- 
tween the  feet.  2.  (F,  22)  God  the  Father  enthroned  supporting  the 
crucified  Christ,  whose  feet  rest  on  a  golden  ball.  3.  (F.  25)  St.  John  the 
Baptist  in  the  Wilderness.  4.  (F.  27)  St.  George  and  the  Dragon,  a 
crowned  woman  kneeling  in  the  background.  5.  (F.  29)  St.  Christo- 
pher. 6.  (F.  31)  St.  Anna  holding  the  Virgin  and  Child,  the  upper  back- 
ground in  a  diaper  pattern  of  red,  blue,  green,  and  gold.  7.  (F.  33)  St. 
Mary  Magdalene.  8.  (F.  35)  St.  Catherine.  9.  (F.  37)  St.  Margaret. 
10.  (F.  39)  St.  Barbara.  11.  (F.  41)  The  Agony  in  the  Garden.  12. 
(F.  50)  The  Betrayal.  13.  (F.  66)  Christ  before  Pilate.  14.  (F.  71) 
The  Scourging;  witnessed  by  two  groups  of  people,  the  one  at  the  left 
standing  in  a  room  the  marquetry  floor  of  which  is  in  curious  perspective. 
15.  (F.  75)  Christ  bearing  the  Cross.  16.  (F.  78)  The  Crucifixion,  with 
a  blue  and  gold  floral  background.  17.  (F.  81)  The  Descent  from  the 
Cross,  against  a  background  of  similar  design  in  rose  and  gold.  18. 
(F.  84)  The  Entombment,  with  the  three  Crosses  in  the  distance.     19. 


52  HORiE 

(F.  109)  The  Last  Judgment.  20.  (F.  131)  The  Raising  of  Lazarus.  21. 
(F.  156)  Two  "departing  souls"  ascending  to  Heaven  in  a  winding-sheet 
held  by  two  angels,  (iod  the  Father  above  in  the  clouds.  22,  (F.  171) 
The  Resurrection,  with  all  the  symbols  of  the  Passion.  23.  (F.  179)  St. 
Jerome. 

At  the  top  of  the  first  page  of  the  Calendar  is  written :  "  Jesus  have 
merci  upon  us.    John  busshells  boke  tayller." 

HORJS   BEAT^   MARINE  VIRGINIS.     S^c.  XV. 

12wio,  dark  blue  velvet,  engraved  silver-gilt  comer  ^pieces 
and  clasps,  light  blue  silk  linings,  gauffred  gilt  edges. 

A  Flemish  Book  of  Hours  written  upon  fine  vellum  about  the  middle 
of  the  fifteenth  century.     127  X  92  mm. 

It  contains  176  leaves  (folios  101  and  118  blank),  including  12  for  the 
Calendar,  which  is  in  I^atin  and  has  illuminated  initials;  16  lines  to  the 
page.  There  are  13  large  and  14  small  miniatures,  20  borders  composed 
of  flowers,  insects,  animals,  etc.,  on  a  dull  gold  or  grey  ground,  and  num- 
erous initials  floriated  in  camaieu  d'or  or  gris,  or  painted  in  blue,  red,  and 
gold.  From  these  latter  initials  occasionally  issue  scroll-like  ornaments 
in  black  or  red  ink. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13  v.)  The  Crucifixion. 
2.  (F.  22  V.)  The  Descent  of  the  Holy  Ghost.  3.  (F.  42  v.)  The  Annuncia- 
tion, showing  the  interior  of  a  bed-chamber  and  the  Virgin  kneeling  before 
a  prie-dieu.  4.  (F.  52  v.)  The  Visitation  of  Elizabeth.  5.  (F.  67  r.)  The 
Nativity.  6.  (F.  72  r.)  The  Announcement  to  the  Shepherds,  one  of  whom 
is  a  woman.  7.  (F.  77  r.)  The  Adoration  of  the  Magi.  8.  (F.  81  v.)  The 
Circumcision.  9.  (F.  86  r.)  The  Massacre  of  the  Innocents.  10.  (F.  94  v.) 
The  Flight  into  Egj-pt.  11.  (F.  102  v.)  The  Virgin  and  Child.  12. 
(F.  119  V.)  King  David  praying.     13.  (F.  143  v.)  A  Burial  Service. 

The  14  small  miniatures,  which  measure  27  X  27  mm.,  occur  be- 
tween folios  35-40  and  103-106,  and  represent  Sts.  John  the  Evangelist, 
Luke,  Matthew,  and  Mark,  the  Descent  from  the  Cross,  St.  John  the  Bap- 
tist, Sts.  Peter  and  Paul,  St.  Sebastian,  St.  Christopher,  St.  Anthony,  St. 
Nicholas,  St.  Anna,  St.  Catherine,  and  St.  Barbara. 

The  execution  of  all  the  miniatures  is  refined  and  delicate  in  colouring 
and  original  in  design. 


HORiE  53 

HORiE  BEAT.E   MARI.E  VIRGINIS.     S^c.  XV. 

4>tOy  old  brown  morocco,  tooled  in  a  beautiful  Grolieresque 
design  of  interlacing  fillets,  scrolls,  and  azured  silver  orna- 
ments, brass  and  leather  clasps,  gilt  edges. 

A  French  Book  of  Hours  written  about  the  middle  of  the  fifteenth  cen- 
tury in  large  and  small  golhic  characters  upon  vellum.    197  X  144  mm. 

There  are  162  leaves,  including  12  for  the  Calendar,  with  16  lines  to  the 
page.   Folios  13,  100, 105,  and  110  are  blank.    The  miniatures  number  18. 

Every  page  of  text  contains  a  lateral  border  delicately  executed  in  a 
"line  and  leaf"  design  traced  in  black  and  finished  in  burnished  gold 
with  brightly  coloured  flowers.  The  pages  containing  miniatures  have 
more  than  usually  elaborate  internal  borders,  introducing  a  variety  of 
flowers  and  fruits. 

The  subjects  of  the  miniatures  are  1.  (F.  14  r.)  St.  John  the  Evangelist 
on  Patmos.  2.  (F.  15  v.)  St.  Luke.  3.  (F.  17  v.)  St.  Matthew.  4, 
(F.  19  V.)  St.  Mark.  5.  (F.  28  r.)  The  Annunciation.  6.  (F.  49  r.)  The 
Visitation  of  Elizabeth.  7.  (F.  58  r.)  The  Nativity.  8.  (F.  63  r.)  The 
Announcement  to  the  Shepherds,  one  of  whom  is  a  woman.  9.  (F.  66  v.) 
The  Adoration  of  the  Magi,  one  of  them  a  youth.  10.  (F.  70  r.)  The 
Presentation  in  the  Temple.  11.  (F.  73  v.)  The  Flight  into  Egypt.  12. 
(F.  79  V.)  The  Coronation  of  the  Virgin.  13.  (F.  84  r.)  King  David  pray- 
ing outside  a  chapel.  14.  (F.  101  r.)  The  Crucifixion.  15.  (F.  106  r.) 
The  Descent  of  the  Holy  Spirit.  16.  (F.  Ill  r.)  A  Burial  Service  within  a 
chapel.  17.  (F.  155  r.)  The  Virgin  and  Child,  two  kneeling  figures  be- 
side them,  at  the  beginning  of  the  French  prayer  "  Doulce  dame  de  miseri- 
corde."  18.  (F.  160  r.)  The  Trinity,  at  the  beginning  of  the  French 
prayer,  "Quelconques  veult  estre  bien  conseilles." 

The  colouring  of  this  manuscript  is  fresh  and  pure. 

HORvE   BEAT^   MARI^.  VIRGINIS.    S^c.  XV. 

4^0,  in  an  eighteenth  century  Italian  binding  of  mauve 
velvet  with  heavy  gold  thread  borders  on  the  sides  and  back, 
the  lettering  ^'Missale  Romanum"  [sic]  lengthwise  in  the 
back  panel,  red  silk  linings,  gauffred  gilt  edges. 

A  Norman  French  Book  of  Hours  written  in  gothic  characters  upon 
vellum  about  the  middle  of  the  fifteenth  century.     170  X  124  mm. 


54  HOR^ 

It  contains  173  leaves,  including  12  for  the  Calendar,  with  16  lines  to 
the  page.  On  folios  172  verso  and  173  recto  is  a  Latin  prayer  written  in  a 
cursive  hand  and  on  173  verso  a  pen  and  ink  drawing  of  the  Virgin. 
There  are  12  large  miniatures  with  oval  tops  surrounded  by  borders  of 
flowers,  foliage,  scrolls,  fruit,  etc.,  in  colours  heightened  with  gold.  On 
almost  every  folio  are  similar  but  less  elaborate  side  borders. 

The  subjects  of  the  miniatures  are  1.  (F.  25  r.)  The  Annunciation.  2. 
(F.  43  r.)  The  Visitation  of  Elizabeth;  in  the  background  a  Norman  castle 
beside  a  river,  the  landscape  in  excellent  perspective.  3.  (F.  55  r.)  The 
Nativity;  a  Norman  tower  in  the  background.  4.  (F.  60  r.)  The  An- 
nouncement to  the  Shepherds ;  several  Norman  towers  beside  a  river  in 
the  background.  5.  (F.  64  v.)  The  Adoration  of  the  Magi.  6.  (F.  69  r.) 
The  Presentation  in  the  Temple ;  Salome  attending  with  the  offering  of 
three  turtle-doves.  7.  (F.  73  v.)  The  Flight  into  Egypt;  a  Norman  castle 
in  the  background.  8.  (F.  81  r.)  The  Coronation  of  the  Virgin.  9. 
(F,  96  r.)  King  David  praying  before  an  altar  in  a  church.  10.  (F.  117  r.) 
The  Crucifixion;  a  Norman  castle  in  the  background.  11.  (F.  120  v.) 
The  Descent  of  the  Holy  Spirit.  12.  (F.  124  r.)  A  Burial  Service  outside 
a  mortuary  chapel ;  a  group  of  seven  persons  including  priests,  mourners, 
and  grave-diggers. 

HORyE   BEAT.E   MARI^  VIRGINIS.     S^c.  XV. 

Small  4'to,  red  morocco,  gilt  back,  gilt  edges,  by  Derome. 

An  Italian  Book  of  Hours  written  in  large  and  small  gothic  characters 
upon  vellum  about  the  middle  of  the  fifteenth  century.     130  X  94  mm. 

There  are  184  leaves,  including  12  for  the  Calendar,  with  13  lines  to  the 
page.  Folios  84,  138,  and  170  are  blank.  It  contains  1  large  minia- 
ture, 4  historiated  initials,  and  9  other  large  capital  letters  painted  in  col- 
ours on  a  burnished  gold  ground,  issuing  from  which  are  lateral  borders 
composed  of  pen  and  ink  scrolls,  flowers  in  colours,  and  gilt  balls.  Spring- 
ing from  smaller  initials  of  burnished  gold  or  blue  are  scroll-like  orna- 
ments in  blue  and  red  ink,  forming  borders. 

There  are  5  full-page  borders  richly  painted  in  flowers,  vases,  birds,  and 
scrolls  in  green,  red,  blue,  yellow,  and  burnished  gold,  and  one  tri- 
lateral border  of  the  same  character  (folio  171).  The  4  historiated  ini- 
tials occur  on  these  bordered  pages  and  depict  the  Virgin  and  Child 
(folio  13),  a  crowned  skull  (folio  86),  King  David  (folio  139),  and  the 


HOR^  55 

Cross,  the  spear,  and  the  sponge  (folio  165).  At  the  foot  of  this  last  page 
is  another  Cross  in  burnished  gold,  on  each  side  of  which  is  an  angel. 
The  first  border,  on  folio  13,  is  the  most  elaborate  of  all,  containing  six 
heads  within  gold  borders,  and  at  the  foot,  a  blank  coat-of-arms  sup- 
ported by  two  angels. 

The  only  large  miniature  (folio  85  v.)  represents  "les  trois  vifs  et  les 
trois  morts."  The  dead  are  in  a  coffin  with  three  compartments,  the 
centre  one  containing  a  crowned  skeleton  in  a  sitting  posture.  The  living 
(one  of  them  a  king)  stand  near  and  are  admonished  by  a  kneeling  saint 
who  holds  a  scroll  bearing  the  legend,  "Sic  eritis  vobis." 

From  the  collection  of  the  Due  de  La  Valliere. 

HORiE  BEAT^   MARINE  VIRGINIS.     S^c.  XV. 

4to,  brown  levant  morocco,  back  and  sides  gilt  and  blind- 
tooled  in  panels,  corner  and  centre  ornaments,  vellum  linings, 
gilt  edges,  by  F.  Bedford. 

A  Flemish  Book  of  Hours  written  in  gothic  characters  upon  vellum 
in  the  second  half  of  the  fifteenth  century.     168  X  177  mm. 

It  contains  204  leaves,  including  12  for  the  Calendar,  which,  like  the 
rubrics,  is  in  French.  Folios  13  and  30  are  blank,  but  ruled  in  ink, 
15  lines  to  the  page.  There  are  12  large  and  15  small  miniatures  of 
the  school  of  Memling,  and  27  borders  of  unusual  brilliancy  (of  which 
12  surround  the  large  miniatures)  composed  of  scrolls,  flowers,  fruit, 
birds,  angels,  etc.,  on  a  bright  yellow  ground.  On  folio  122,  which 
begins  "Vigilles  des  mors,"  is  the  figure  of  a  corpse  with  the  legend  on 
a  scroll,  "La  mort  approche,"  etc.  There  are  numerous  large  floriated 
and  historiated  initials  and  smaller  ones  in  dull  gold  on  a  blue  or  rose 
ground,  and  in  camdieu  gris  on  a  green  and  gold  ground. 

The  subjects  of  the  large  miniatures  are  1,  (F.  14  v.)  The  Cruci- 
fixion. 2.  (F.  23  V.)  The  Descent  of  the  Holy  Spirit.  3.  (F.  31  v.)  The 
Annunciation.  4.  (F.  43  v.)  The  Visitation  of  Elizabeth.  5.  (F.  5Q  v.) 
The  Nativity;  four  briUiant  red  angels  in  the  sky.  6.  (F.  72  v.)  The 
Circumcision.  7.  (F.  78  v.)  The  Flight  into  Egypt.  8.  (F.  87  v.)  The 
Coronation  of  the  Virgin.  9.  (F.  93  v.)  The  Virgin  and  the  Infant 
Christ,  the  face  of  the  Virgin  being  the  Memling  type  of  Madonna. 
10.  (F.  103  V.)  King  David  praying,  a  castle  and  a  landscape  in  the 
background.     11.  (F.   177  r.)  The  crucified  Christ  appearing  to  the 


56  HORyE 

Virgin  as  she  kneels  in  prayer.  12.  (F.  187  v.)  Two  compartments 
showing  St.  John  the  Baptist  seated,  with  a  book  in  his  hand,  and  Salome 
receiving  his  head. 

The  subjects  of  the  small  miniatures,  which  occur  between  folios 
167  and  199,  are,  the  Descent  from  the  Cross,  the  crucified  Christ  and 
the  Virgin  crowned  by  God  the  Father,  the  Crucifixion,  the  Trinity 
(folio  190  v.),  Sts,  Peter  and  Paul,  St.  Sebastian  in  armour,  St.  An- 
thony, St.  Adrian,  St.  Piat,  St.  Mary  Magdalene,  St.  Julian,  St.  Cath- 
erine, St.    Barbara,  the  Descent  of  the  Holy  Spirit,  and  St.  Roch. 

The  colouring  throughout  the  volume  is  brilliant,  and  the  subjects 
of  some  of  the  small  miniatures  are  rather  unusual,  e.  g.,  St.  Piat,  St. 
Julian,  and  St.  Sebastian  in  armour. 

On  the  first  of  the  two  preliminary  blank  leaves  is  sixteenth  century 
handwriting  in  French. 

HOR^  BEAT.E   MARINE  VIRGINIS.     S^c.  XV. 

410,  brown  levant  morocco  tooled  in  panels  containing  starSy 
trefoils,  and  other  small  ornaments^  vellum  linings^  gilt  edges, 
by  F.  Bedford. 

A  Flemish  Book  of  Hours  written  in  large  and  small  gothic  letters 
upon  the  finest  abortive  vellum  in  the  latter  part  of  the  fifteenth  century. 
195  X  136  mm. 

There  are  207  leaves,  including  12  for  the  Calendar  (which  is  in 
French),  with  18  lines  to  the  page.  It  contains  31  large  miniatures  and 
numerous  initial  letters  in  blue  and  red  on  a  burnished  gold  ground. 

On  each  page  of  text  is  a  lateral  border  of  delicate  scrolls,  fruit, 
flowers,  and  foliage  in  gold  and  colours,  blue  predominating.  Similar 
borders  extend  around  three  sides  of  the  pages  containing  miniatures. 

The  subjects  of  the  miniatures  are  1.  (F.  13  r.)  St.  John  the  Evange- 
list on  Patmos.  2.  (F.  14  v.)  St.  Luke.  3.  (F.  16  r.)  St.  Matthew. 
4.  (F.  17  v.)  St.  Mark.  5.  (F.  18  v.)  The  Betrayal,  painted  in  dull 
blue  and  green  and  cavia'ieu  d'or.  6.  (F.  25  r.)  The  Descent  from  the 
Cross,  in  brilliant  colours.  7.  (F.  32  r.)  The  crowned  Virgin  and  the 
Infant  Christ,  at  their  feet  a  man  kneeling,  probably  the  one  for  whom 
the  manuscript  was  executed.  8.  (F.  35  r.)  The  Annunciation,  the 
Angel's  wings  resembling  peacock's  feathers.  9.  (F.  49)  The  Visita- 
tion of  Elizabeth;    a  castle  on  a  hill  of  rocks  in  the  background.     10. 


HORiE  67 

(F.  57  V.)  The  Adoration  of  the  Shepherds.  11.  (F.  61  r.)  The  Announce- 
ment to  the  Shepherds.  12.  (F.  64  v.)  The  Offerings  of  the  Magi; 
the  Virgin  and  Child  enthroned  under  a  canopy.  13.  (F.  67  v.)  The 
Presentation  in  the  Temple.  14.  (F.  71  r.)  The  Flight  into  Egypt. 
15.  (F.  80)  The  Crucifixion.  16.  (F.  84)  The  Descent  of  the  Holy 
Ghost.  17.  (F.  88)  The  Death  of  Goliath;  the  armies  of  the  Israelites 
and  Philistines  in  the  background.  The  number  of  figures  in  this  paint- 
ing and  the  finish  of  detail  are  remarkable.  18.  (F.  104)  "Les  trois 
vifs  et  les  trois  morts ;  "  a  cross  in  the  foreground,  a  walled  castle  in  the 
distance.  19.  (F.  135  v.)  St.  Michael  and  two  dragons.  20.  (F.  136  v.) 
St.  John  the  Evangelist  and  St.  John  the  Baptist  in  a  hall,  two  of  the 
three  pillars  of  which  are  studded  with  jewels.  21.  (F.  137  v.)  St.  Peter 
and  St.  Paul.  22.  (F.  138  v.)  St.  Christopher  approaching  land  on 
which  is  St.  George  killing  the  dragon.  23.  (F.  139  v.)  St.  Adrian  and 
St.  Sebastian.  24.  (F.  140  v.)  St.  James  the  Great  and  St.  Bernard. 
25.  (F.  141  V.)  The  Martyrdom  of  St.  Catherine.  26.  (F.  142  v.)  St. 
Mary  Magdalene  and  St.  Martha.  27.  (F.  143  v.)  St.  Apollonia  and 
St.  Barbara.  28.  (F.  144  v.)  The  Assumption ;  the  symbols  of  the  four 
Evangelists  in  the  corners  of  the  blue  border  surrounding  the  miniature. 
29.  (F.  155  V.)  St.  Gregory.  30.  (F.  187  r.)  St.  Augustine.  31  (F. 
195  r.)    The  Resurrection. 

The  paintings  are  delicate  examples  of  Flemish  art  at  its  best  period, 
unsurpassed  in  brilliancy  of  colour,  perspective,  drawing,  and  perfection 
of  detail.  At  least  two  artists  worked  upon  the  volume,  as  may  be  seen 
by  comparing  folios  80  and  88  with  folio  25.  The  two  former  paintings, 
in  perspective  and  finish,  suggest  the  school  of  Touraine.  The  grouping 
of  two  unrelated  saints,  as  in  nos.  22,  23,  24,  26,  and  27,  is  unusual. 

The  arms  of  the  person  for  whom  the  volume  was  ihade  occur  twice 
in  the  border  on  folio  35  recto. 

From  the  Bragg  collection. 

HOR^  BEAT.E   MARI^  VIRGINIS.     S^c.  XV. 

Small  8vOf  dark  blue  morocco,  gilt  edges,  silver  clasp,  by 
Koehler. 

A  Book  of  Hours  executed  upon  fine  vellum  in  the  fifteenth  century 
in  France  by  a  French  scribe  and  a  Flemish  illuminator.    172  X  117  mm. 

It  contains  162  leaves,  including  6  for  the  Calendar,  with  20  lines  to 


58  UORJE 

the  page.  There  are  12  large  and  73  small  miniatures  in  the  borders 
which  combine  with  much  originality  foliage,  flowers,  various  fruits, 
birds,  animals,  grotesques,  and  chimeras. 

The  subjects  of  the  large  miniatures  are  1.  (F.  12  r.)  The  Annunci- 
ation. 2.  (F.  30r.)  The  Nativity.  3.  (F.  33  v.)  The  Announcement  to 
the  Shepherds.  4.  (F.  36  v.)  The  Adoration  of  the  Magi.  5.  (F.  39  r.) 
The  Presentation  in  the  Temple.  6.  (F.  42  r.)  The  Flight  into  Egypt. 
7.  (F.  46  r.)  The  Coronation  of  the  Virgin.  8.  (F.  49  v.)  The  Cruci- 
fixion. 9.  (F.  51  v.)  The  Descent  of  the  Holy  Spirit.  10.  (F.  53  v.) 
Uriah  receiving  the  fatal  message  from  King  David.  11.  (F.  65  v.)  Job 
conversing  with  his  wife  and  friends.  12.  (F.  161  r.)  The  Mass  of  St. 
Gregory.  The  border  of  this  last  miniature  is  divided  into  compartments, 
each  of  which  contains  an  initial  of  the  word  "Regnee"  at  the  foot  of 
the  page. 

The  small  miniatures  depict  scenes  from  the  lives  of  Christ,  the 
Virgin,  and  various  Saints,  with  the  civil,  religious,  and  military  costumes 
of  the  period.  From  the  types  of  face  in  the  paintings,  the  artist  was 
evidently  Flemish,  indeed,  at  first  glance,  the  manuscript  appears  to  be 
entirely  Flemish.  Although  not  in  the  highest  style  of  art,  the  miniatures 
are  vigorous  in  execution  and  pervaded  with  a  sombre  seriousness  pos- 
sessing a  quaint  charm. 

From  the  mention  throughout  the  manuscript  of  the  names  of  saints 
especially  venerated  in  Paris,  e.  g.,  St.  Denis,  St.  Aure  or  Avoie,  St. 
Opportune,  St.  Fiacre,  and  St.  Mathurin,  it  would  appear  to  have  been 
written  in  that  city,  but  the  hagiographical  indications  in  the  Calendar 
and  Litany  do  not  confirm  this  hypothesis;  e.  g.,  in  the  Calendar,  where 
St.  Genevieve  is  not  mentioned,  are  found  the  rarely  used  names  C heron 
(May  28),  patron  saint  of  Chartres,  St.  Lifart  (June  3),  born  at  Orleans 
and  patron  of  Meung-sur-Loire,  St.  Calais  (July  1),  first  abbe  d'Anille 
dans  le  Maine,  St.  Euverte  (September  7),  Bishop  of  Orleans,  St.  Solain, 
Bishop  of  Chartres  and  patron  saint  of  Blois,  and  St.  Foi,  patron  saint 
of  Chartres.  In  addition,  among  the  unusual  names,  rubricated,  are  those 
of  St.  Gervais  and  St.  Protais,  patron  saints  of  the  city  of  Mans.  These 
facts  would  indicate  that  the  scribe  lived  in  Maine  or  Orleans. 

Besides  a  number  of  unusual  names,  the  Calendar  contains  also  many 
dialectical  forms  and  orthographical  peculiarities,  e.  g.,  St.  Fellier 
[Felix  .5]  January  14;  St.  Memer  [Mamert.?]  May  11;  St.  Liphard 
[Lifart],  <S/.  Kalees  [Calais],  St.  Bethelemer  [Barthelemy]  August  24. 


HOR.E  59 

On  the  second  of  the  four  preHminary  blank  leaves  is  written,  "Je 
fuis  a  Damoifelle  Jeanne  de  Malherbe  1567,"  which  indicates  that  the 
manuscript  was  undoubtedly  owned  by  a  member  of  the  family  of 
Francois  de  Malherbe,  the  poet,  1555-1628. 

From  the  library  of  Ambroise  Firmin-Didot. 

HOR^  BEATiE  MARINE  VIRGINIS.    S^c.  XV. 

4to,  red  levant  morocco  delicately  tooled  in  compartments 
containing  leaf-sprays,  azured  ornaments,  and  dots,  doubled 
with  green  morocco  tooled  in  oval  cartouches  formed  of  leaf- 
sprays  containing  floral  ornaments,  the  intervals  filled  with 
stars,  dots,  and  other  small  tools,  vellum  guards,  gilt  edges, 
by  Riviere.  In  a  green  levant  morocco  case  lined  with  green 
velvet. 

A  French  Book  of  Hours  executed  in  large  and  small  gothic  characters 
upon  vellum,  presumably  after  the  middle  of  the  fifteenth  century  for 
Margaret  of  Anjou  (1430-1482),  wife  of  Henry  VI  of  England,  whose 
portrait  is  supposed  to  be  contained  in  the  miniature  on  folio  230, 
representing  a  noble  lady  kneeling  before  the  Virgin  and  Child. 
180  X  133  mm. 

There  are  238  leaves,  including  12  for  the  Calendar,  with  15  lines  to 
the  page.  Folios  32,  108,  and  229  are  blank.  It  contains  51  large  and 
24  small  miniatures. 

The  pages  of  the  Calendar  and  the  text  are  surrounded  by  exquisitely 
painted  "line  and  leaf"  borders  of  black  and  burnished  gold  with 
flowers  in  brilliant  colours.  The  pages  containing  miniatures  have  more 
elaborate  borders  richly  ornamented  with  thick  sprays  of  flowers, 
foliage,  and  scrolls  in  red,  blue,  and  green,  heightened  with  burnished 
gold. 

The  subjects  of  the  large  miniatures,  which  have  oval  tops,  are  1.  (F. 
13  r.)  St.  John  the  Evangelist  on  Patmos.  2.  (F.  15  r.)  St.  Luke.  3. 
(F.  17  r.)  St.  Matthew.  4.  (F.  19  r.)  St.  Mark.  5.  (F.  20  v.)  Christ 
before  Pilate.  6.  (F.  23  r.)  The  Virgin  and  Child  enthroned  under  a 
richly  embroidered  canopy  in  red  and  gold,  the  Child  receiving  a  basket 
of  fruit  from  an  angel.  7.  (F.  27  v.)  The  Coronation  of  the  Virgin,  the 
Child  in  her  arms,  two  angels  below  playing  an  organ  and  a  harp.    8. 


60  HORiE 

(F.  33  r.)  The  Annunciation.  9.  (F.  60  r.)  The  Visitation  of  Elizabeth. 
10.  (F.  72  V.)  The  Nativity.  11.  (F.  76  r.)  The  Announcement  to  the 
Shepherds.  12.  (F.  84  r.)  The  Adoration  of  the  Magi.  13.  (F.  89  r.) 
The  Presentation  in  the  Temple;  the  Virgin  accompanied  by  Salome(?) 
bearing  a  basket  with  three  turtle-doves.  14.  (F.  94  r.)  The  Flight  into 
Egypt.  15.  (F.  102  r.)  The  Coronation  of  the  Virgin.  16.  (F.  109  r.) 
King  David  praving.  17.  (F.  132  v.)  The  Agony  in  the  Garden,  18. 
(F.  134  V.)  The'Mocking  of  Christ.  19.  (F.  136  v.)  The  Flagellation. 
20.  (F.  138  V.)  Christ  bearing  the  Cross.  21.  (F.  140  v.)  The  Cruci- 
fixion with  the  two  thieves.  22.  (F.  142  v.)  The  Descent  from  the 
Cross.  23.  (F.  144  v.)  The  Entombment.  24.  (F.  146  v.)  The  Descent 
of  the  Holy  Spirit.  25.  (F.  148  v.)  The  Announcement  to  the  Shepherds; 
angels  ringing  bells  in  the  sky.  26.  (F.  150  r.)  The  Baptism  of  Christ 
by  John  the  Baptist.  27.  (F.  151  v.)  Peter  baptising  converts.  28. 
(F.  153  r.)  Peter  preaching  to  converts.  29.  (F.  154  v.)  Two  Apostles 
(Peter  and  Paul  .^)  kneeling  in  prayer  outside  a  eity  (Rome.'').  30.  (F. 
156.)  The  Descent  of  the  Holy  Spirit.  31.  (F.  158  r.)  A  Burial  Service. 
32.  (F.  209  r.)  The  Trinity.  33.  (F.  210  v.)  The  Assumption  of  the 
Virgin.  34.  (F.  211  v.)  St.  Michael.  35.  (F.  212  v.)  St.  John  the  Evan- 
gelist. 36.  (F.  213  V.)  St.  Simon  and  St.  Jude.  37.  (F.  215  r.)  St. 
Andrew.  38.  (F.  216  r.)  St.  Thomas.  39.  (F.  217  r.)  St.  Stephen. 
40.  (F.  218  r.)  St.  Dionysius  (Denis).  41.  (F.  219  v.)  St.  Laurence. 
42.  (F.  220  V.)  St.  John  the  Baptist.  43.  (F.  221  v.)  St.  Martin.  44.  (F. 
222  V.)  St.  Nicholas.  45.  (F.  223  v.)  St.  Anthony.  46.  (F.  224  v.)  St. 
Anna  and  the  Virgin  Mary.  47.  (F.  226  r.)  St.  Mary  Magdalene.  48. 
(F.  227  r.)  St.  Catherine.  49.  (F.  228  r.)  St.  Margaret.  50.  (F.  230  r.) 
The  Mrgin  Mary  and  the  Child  receiving  the  homage  of  a  kneeling 
woman  supposed  to  be  Margaret  of  Anjou.  This  miniature  precedes 
the  prayer  beginning  "Doulce  dame  de  misericorde."  51.  (F.  235  v.) 
The  Last  Judgment,  preceding  the  prayer  "Douls  dieus  douls  pere 
sainte  trinite." 

The  24  small  miniatures  are  on  the  outer  margins  and  at  the  foot  of 
pages  containing  the  Calendar,  and  represent  the  signs  of  the  zodiac  and 
scenes  appropriate  to  the  months. 

The  miniatures  are  of  extremely  fine  and  delicate  execution  and  re- 
markable for  brilliancy  of  colour  and  variety  of  subject.  The  paintings 
accompanying  the  eight  divisions  of  the  Hours  proper,  beginning  with 


HORiE  61 

the  Matins  and  ending  with  the  Compline,  are  not  the  usual  subjects. 
Both  borders  and  miniatures  were  painted  by  artists  of  a  high  order. 

HORiE  BEAT^   MARI^  VIRGINIS.    S^c.  XV. 

4to,  old  red  velvet,  inside  borders  of  red  morocco  delicately 
tooled,  light  blue  silk  panels,  carved  and  chased  silver-gilt 
corners  and  clasps,  gilt  edges,  by  C.  Smith.  In  a  case  of  dark 
mauve  morocco  lined  with  velvet. 

A  superb  French  Book  of  Hours  written  in  large  and  small  gothic 
characters  upon  vellum  presumably  after  the  middle  of  the  fifteenth 
century.    235   X    168  mm. 

It  contains  211  leaves,  including  12  for  the  Calendar,  with  15  lines  to 
the  page.  Folios  27  and  97  are  blank.  There  are  19  large  and  56  small 
miniatures,  24  of  which  are  in  the  Calendar,  making  75  in  all. 

All  of  the  pages  of  the  Calendar  and  text  are  surrounded  by  exquisite 
"line  and  leaf"  borders  delicately  painted  in  black  and  burnished  gold. 
The  pages  containing  the  large  miniatures  have  more  elaborate  borders 
of  flowers,  foliage,  and  scrolls  in  brilliant  colours  and  burnished  gold, 
the  one  on  folio  28  introducing  four  angels. 

The  subjects  of  the  large  miniatures  are  1.  (F,  13  r.)  St.  John 
the  Evangelist  on  Patmos,  the  Eagle  holding  his  scroll,  the  Devil  in  the 
background  stealing  his  ink-well.  2.  (F.  15  r.)  St.  Luke  painting  the 
portrait  of  the  Virgin  Mary.  3.  (F.  17  r.)  St.  Mark.  4.  (F.  18  v.)  St. 
Matthew.  These  four  miniatures  measure  about  73  X  67  mm.  and  are 
quadrangular  in  form,  the  remaining  ones  being  somewhat  larger  (about 
105  X  65  mm.),  with  oval  tops.  5.  (F.  28  r.)  The  Annunciation.  6. 
(F,  52  r.)  The  Visitation  of  Elizabeth;  in  the  background  a  marine 
landscape  in  curious  perspective.  7.  (F.  63  v.)  The  Nativity.  8.  (F. 
69  V.)  The  Announcement  to  the  Shepherds.  9.  (F.  74  v.)  The  Adora- 
tion of  the  Magi.  10.  (F.  79  r.)  The  Presentation  in  the  Temple.  11. 
(F.  83  V.)  The  Flight  into  Egypt,  an  angel  attending,  a  river  scene  in 
the  background.  12.  (F.  91  r.)  The  Coronation  of  the  Virgin  Mary  by 
God  the  Father,  attended  by  six  angels.  13.  (F.  98  r.)  King  David 
praying  on  a  battlemented  roof  overlooking  a  river.  14.  (F,  119  r.)  The 
Crucifixion;  a  soldier  thrusting  the  spear  into  Christ's  side.  15.  (F. 
127  r.)  The  Descent  of  the  Holy  Spirit.  16.  (F.  134  r.)  A  Burial  Service ; 
an  unusual  and  interesting  painting  showing  the  Office  for  the  Dead 


62  HORiE 

read  over  the  corpse,  which  is  about  to  be  lowered  into  the  tomb, 
the  mourners  and  priests  in  the  foreground.  In  the  background  is 
seen  a  struggle  for  the  Spirit  between  the  good  and  evil  powers,  and 
the  interposition  of  the  Archangel  Michael  to  frustrate  the  Devil.  17. 
(F.  182  r.)  The  Virgin  and  Child  attended  by  angels,  beginning  the 
service,  in  French,  "Les  quinze  joies  de  Notre  Dame."  18.  (F.  188  r.) 
The  Entombment,  a  curious  composition  preceding  "Les  cinq  plaies," 
in  French,  depicting  Christ  crucified  standing  in  the  tomb,  surrounded 
by  the  Virgin  Mary,  the  Beloved  Disciple  and  two  angels  bearing  the 
symbols  of  the  Passion.  19.  (F.  192  r.)  The  Trinity;  God  the  Father 
supporting  the  crucified  Christ,  and  attended  by  four  angels  bearing  the 
symbols  of  the  Passion. 

The  24  small  miniatures  in  the  Calendar,  representing  the  zodiacal 
signs  and  scenes  appropriate  to  the  months,  are  on  the  recto  of  the  pages 
on  the  outer  margin  and  at  the  foot,  the  former  circular  in  shape,  the 
latter  quadrangular.  The  remaining  32  small  miniatures  occur  in  the 
outer  margins  of  the  borders  from  folios  193  to  211,  and  represent  All 
Saints,  the  Assumption  of  the  Virgin,  two  Angels  beside  the  Cross,  St. 
Michael,  St.  John  the  Baptist,  Sts.  Peter  and  Paul,  St.  Andrew,  St.  John 
the  pA'angelist,  St.  James  the  Major,  St.  Thomas,  St.  Barthelemy,  St. 
Matthew,  Sts.  Simon  and  Jude,  St.  Matthias,  St.  Luke,  St.  Mark,  St. 
Stephen,  St.  I^aurence,  St.  Vincent,  St.  Denis,  St.  Christopher,  St.  George, 
St.  Martin,  St.  Nicholas,  St.  Maurelio,  St.  Anthony  of  Padua,  St.  Fiacre, 
St.  Catherine,  St.  Margaret,  St.  Genevieve,  St.  Mary  Magdalene,  and  St. 
Anna. 

The  delicate  execution,  multiplicity  of  detail,  perspective,  and  brilliant 
colouring  of  all  the  miniatures,  as  well  as  the  style  of  border,  suggest 
the  preceding  manuscript,  which  was  executed  for  Margaret  of  Anjou. 
The  similarity  is  particularly  evident  in  the  eight  paintings  and  borders 
which  accompany  the  Office  of  the  Virgin.  It  is  not  unlikely  that  the 
same  artists  executed  both  manuscripts. 

Formerly  in  the  library  of  the  Duke  of  Sussex. 

HOR.E  BEATiE   MARINE  VIRGINIS.     S^c.  XV. 

Small  Svo,  Lyonnese  binding  in  calf  on  oak  boards,  stamped 
in  gold  and  with  the  name  of  its  former  owner,  '* Marie 
Chariot,'^  on  both  sides,  gilt  edges.  In  an  embroidered 
wrapper  worked  in  silk. 


HOR^  63 

A  Flemish  Book  of  Hours  executed  in  large  and  small  gothic  letters 
upon  vellum  in  the  fifteenth  century,  evidently  for  use  in  Paris,  as  St. 
Denis  and  St.  Genevieve  are  depicted  among  the  miniatures.  183  X 125  mm. 

There  are  120  leaves,  including  6  for  the  Calendar,  with  22  lines  to  the 
page.  It  contains  1 1  large  and  46  small  miniatures,  24  being  in  the  Cal- 
endar, which  is  written  in  blue,  red,  and  burnished  gold  letters  in  French, 
with  trilateral  borders  of  scrolls,  flowers,  animals,  grotesques,  etc.,  in 
colours  on  a  dull  gold  ground.  At  the  side  and  bottom  of  each  page  are 
miniatures  depicting  the  signs  of  the  zodiac  and  scenes  appropriate  to 
the  months.  The  pages  of  the  text  have  lateral  borders  similar  in  design 
to  those  in  the  Calendar,  and  there  are  also  borders  around  the  large 
miniatures. 

The  subjects  of  the  large  miniatures  are  1.  (F.  17)  The  Annunciation. 
2.  (F.  33)  The  Visitation  of  Elizabeth;  two  Angels  attending  Mary, 
Joseph  leaning  on  a  rail  in  the  background.  3.  (F.  44)  The  Announce- 
ment to  the  Shepherds.  4.  (F.  47)  The  Adoration  of  the  Magi.  5. 
(F.  50)  The  Presentation  in  the  Temple;  Joseph  at  the  left  carrying 
the  two  turtle-doves,  6.  (F.  53)  The  Massacre  of  the  Innocents; 
Mary,  Christ,  and  Joseph  escaping  through  a  wheat-field  in  the  back- 
ground. 7.  (F.  58)  The  Coronation  of  the  Virgin.  8.  (F.  62)  The 
Crucifixion.  9.  (F.  65)  The  Descent  of  the  Holy  Spirit.  10.  (F.  68) 
David  praying.    11.   (F.  81)  "Les  trois  vifs  et  les  trois  morts." 

Scattered  throughout  the  text  are  22  small  miniatures  (folios  7-14  and 
110-120),  representing  the  Four  Evangelists  and  scenes  from  the  lives 
of  the  Virgin,  Christ,  and  the  Saints. 

On  a  preliminary  blank  leaf  are  "Oraisons  sainct  Gregoire"  in  man- 
uscript, on  three  final  blank  leaves,  "Officium  de  conceptione  Virginis 
Marie,"  both  with  initial  letters  in  red  and  blue. 

HOR^   (GHETIDE).     1484-1485. 

4to,  oak  hoards  covered  with  old  blue  velvet  and  doubled 
with  vellum. 

A  Dutch  Book  of  Hours  written  in  gothic  characters  upon  fine  vellum 
in  the  latter  part  of  the  fifteenth  century.     182  X  132  mm. 

There  are  166  leaves,  including  12  for  the  Calendar  and  2  (folios  1-2) 
containing  two  diagrams  in  red  and  blue,  with  the  dates  1484  and  1485. 
Folios  15  and  112  are  blank  except  for  the  rubrics.    The  first  diagram 


64  UOliJE 

contains  directions  for  finding  the  "  golden  number "  for  nineteen  years, 
beginning  with  1484,  and  the  new  moon  on  the  Calendar;  the  second 
diagram  explains  the  "Sunday  letters"  on  the  Calendar.  These  figures 
are  rather  unusual  in  Books  of  Hours. 

Almost  every  page  contains  on  the  left  margin  a  border  in  fine  pen 
work  of  foliage,  heads,  etc.,  in  blue,  red,  mauve,  and  green.  The  borders 
at  the  beginning  of  the  various  divisions  (folios  16,  50,  69,  90,  113,  and 
131  recto)  are  of  the  same  character  but  much  more  elaborate,  surround- 
ing the  entire  page.  There  are  numerous  illuminated  initials  throughout 
the  volume,  in  four  sizes,  the  largest  measuring  59  X  49  mm. 

HOR^   (GHETIDE).     1485-1490. 

4to,  old  red  velvety  silver-gilt  clasps  carved  with  the  initials 
*'C"  and  *'//,"  gilt  edges. 

A  beautiful  Dutch  Book  of  Hours  written  in  gothic  characters  upon 
vellum,  apparently  for  Cornelis  Crosinck,  Lieutenant-Forester  of  Hol- 
land, whose  jurisdiction  extended  over  nearly  the  whole  of  the  ancient 
Rhine  countr}%  and  for  his  second  wife,  Hildegarde  van  Alkemade. 
Their  arms  and  initials  are  painted  in  the  border  on  folio  109  verso,  and 
their  initials  are  on  the  clasps.    210  X  151  mm. 

There  are  171  leaves,  including  6  for  the  Calendar,  with  22  lines  to 
the  page;  14  large  and  47  small  miniatures,  of  which  28  are  historiated 
initials  and  17  paintings  in  the  borders. 

The  numerous  borders  are  remarkable  for  variety  of  design,  brilliant 
colouring,  and  exquisite  workmanship.  Those  surrounding  the  minia- 
tures are  richly  decorated  with  birds,  fruit,  insects,  and  flowers  (red 
predominating)  on  a  dull  gold  ground,  or  arabesques  in  blue  and  red, 
birds,  etc.,  on  a  white  ground,  with  small  ornaments  in  black  and  gold. 
Seventeen  of  the  small  miniatures  are  painted  in  the  borders,  and  on 
folio  67  verso  is  a  beautiful  design  of  angels  and  foliage  in  camaieu  d'or. 
On  the  opposite  page  is  a  representation  of  the  Tortures  of  Hell  and  the 
Glories  of  Heaven,  evidently  of  the  Van  Eyck  school.  Still  another 
variety  of  border  is  a  graceful  floral  spray  issuing  from  initial  letters  or 
from  the  top  and  bottom  of  a  straight,  narrow  lateral  border  in  red,  blue, 
and  gold.  There  are  many  large  floriated  and  historiated  initials,  and 
smaller  initials  in  blue  and  burnished  gold. 

The  subjects  of  the  large  miniatures  are  1.  (F.  7  v.)    The  Annuncia- 


HORiE  65 

tion,  within  an  architectural  border.  2.  (F.  52  v.)  The  Crucifixion. 
3.  (F.  56  V.)  The  Descent  of  the  Holy  Spirit,  within  an  architectural 
border.  4.  (F.  67  v.)  The  Trinity.  5.  (F.  86  v.)  The  Mass  of  St. 
Gregory.  6.  (F.  88  v.)  The  Last  Supper,  an  architectural  border  at 
the  top.  7.  (F.  104  v.)  Mater  Dolorosa,  in  a  border  of  camaieu  (Tor 
containing  the  Seven  Stations  of  the  Cross.  8.  (F.  109  v.)  St.  Anna 
and  the  Virgin  and  Child  surrounded  by  Angels.  9.  (F.  110  r.)  The 
Virgin  and  Child  surrounded  by  Angels.  10.  (F.  112  v.)  The  Virgin 
and  Child  in  the  midst  of  their  genealogical  tree,  Jesse  recumbent  on  the 
ground.  11.  (F.  115  r.)  The  Virgin  and  Child,  with  St.  Catherine  on 
the  left  and  St.  Agnes  on  the  right,  within  a  border  of  camaieu  d'or.  12, 
(F.  117  V.)  The  Coronation  of  the  Virgin.  13.  (F.  128  v.)  The  Last 
Judgment,  a  curious  composition  representing  St,  Peter  at  the  left 
receiving  the  saved  and  Satan  at  the  right,  with  horns  and  claws,  casting 
the  lost  into  the  flaming  mouth  of  a  dragon.  14.  (F.  143  v.)  Christ 
descending  into  Hell. 

The  small  miniatures  represent  scenes  from  the  lives  of  Christ,  the 
Virgin,  and  Saints.  On  folio  120  verso  are  the  figures  of  the  two  owners 
of  the  book  kneeling  before  the  Virgin  and  Child ;  on  folio  121  verso  is 
another  representation  of  Vrouwe  Crosinck  kneeling  before  an  altar  and 
supported  by  an  angel. 

This  superb  manuscript  is  of  exceptional  beauty  and  richness,  and  an 
example  of  the  best  style  of  Flemish  art  in  the  latter  part  of  the  fifteenth 
century. 

The  miniatures,  evidently  by  several  different  Flemish  artists,  are 
of  the  school  of  the  Van  Eycks.  From  the  fact  that  neither  the  Calendar 
nor  the  Litany  of  the  Saints  mentions  St.  Joseph,  whose  festival  was 
instituted  at  Rome  in  1481,  but  not  generally  observed  until  1490,  and 
that  in  the  rubric  on  folio  120  verso  mention  is  made  of  the  death  of 
Pope  Sixtus  IV,  in  1484,  it  is  probable  that  the  manuscript  was  exe- 
cuted after  1484  and  before  1490. 

HORiE   BEAT.E   MARI^  VIRGINIS.    S^c.  XV. 

Large  8vOy  old  crimson  velvet,  gilt  edges.  In  a  modem 
case  of  brown  morocco. 

A  Flemish  Book  of  Hours  written  in  gothic  characters  upon  vellum 
during  the  latter  part  of  the  fifteenth  century,  apparently  for  use  in 
France.    222  X  139  mm. 

5 


66  UORJE 

It  contains  145  leaves,  including  12  for  the  Calendar,  with  22  lines  to 
the  page.  There  are  72  miniatures,  20  large,  21  of  medium  size,  and  31 
small,  borders  around  every  page,  and  numerous  illuminated  initials.  The 
borders  are  in  the  Flemish  and  Italian  manner,  the  miniatures  appear 
to  have  been  painted  by  a  Flemish  artist  under  French  influence,  and  the 
Calendar,  which  is  in  French,  shows  the  scribe  to  have  written  it  for  use 
in  France. 

The  borders  are  composed  of  fruits,  flowers,  foliage,  scrolls,  animals, 
birds,  etc.,  on  a  ground  of  gold  or  in  compartments  of  white,  gold,  blue, 
or  red,  in  the  Flemish  manner,  or  in  the  Italian  arabesque  style  in  camateu 
d'or  on  a  ground  of  deep  blue. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13  r.)  St.  John  the 
Evangelist  on  Patmos;  the  eagle  holding  his  ink-horn,  the  Virgin  and 
Child  supported  by  angels  in  the  sky.  The  charming  landscape  in  the 
background  suggests  the  school  of  Touraine.  2.  (F.  18  r.)  The  Be- 
trayal ;  a  large  group  of  Roman  soldiers,  Peter  in  the  foreground  cutting 
off  the  ear  of  Malchus.  3.  (F.  38  v.)  The  Genealogical  Tree  of  the  Vir- 
gin and  Christ,  represented  by  persons,  Jesse  recumbent  on  the  ground. 
4.  (F.  39  r.)  The  Annunciation;  in  the  border  are  painted  lilies  and  the 
inscription  on  a  scroll,  "Sicut  lilium  inter  spinas."  5.  (F.  54  v.)  The 
Visitation  of  Elizabeth;  in  the  background  a  castle  and  a  charming 
landscape.  6.  (F.  62  r.)  The  Crucifixion;  with  a  similar  background. 
7.  (F.  63  V.)  The  Descent  of  the  Holy  Spirit.  8.  (F.  64  v.)  The  Nativity; 
an  angel  kneels  beside  the  Infant  Christ,  and  in  the  background  is  the 
same  landscape  as  in  Nos.  5  and  6,  with  the  Shepherds  kneeling.  9.  (F. 
70  r.)  The  Announcement  to  the  Shepherds.  10.  (F.  74  v.)  The  Adora- 
tion of  the  Magi,  one  of  whom  is  black ;  the  retinue  of  the  kings  is  depicted 
outside  the  stable.  11.  (F.  79  r.)  The  Presentation  in  the  Temple; 
in  the  border  lilies  and  roses.  12.  (F.  83  v.)  The  Flight  into  Egvpt.  13. 
(F.  89  V.)  The  Virgin  and  Christ  enthroned.  14.  (F.  95  r.)  Nathan  re- 
buking King  David  for  his  sin  against  Uriah.  15.  (F.  95  v.)  The  Death 
of  Saul.  16.  (F.  96  r.)  David  and  Bathsheba.  17.  (F.  110  r.)  The 
Raising  of  Lazarus.  18.  (F.  110  v.)  Job  and  his  three  Comforters.  19. 
(F.  Ill  r.)  "Les  trois  vifs  et  les  trois  morts";  the  living  on  horseback 
near  a  castle.    20.  (F.  141  v.)  The  Holy  Trinity. 

The  subjects  of  the  medium-sized  miniatures  are  1-12.  Scenes  appro- 
priate to  the  months,  at  the  top  of  the  rectos  of  all  the  pages  of  the  Cal- 


HOR.E  67 

endar.  13.  (F.  17  v.)  The  Agony  in  the  Garden.  14.  (F.  38  r.)  Joachim 
and  Anna  meeting  at  the  Golden  Gate.  15.  (F.  61  v.)  The  Pieta;  the 
Virgin  with  Christ  on  her  knees  surrounded  by  a  group  of  holy  women 
and  Joseph  of  Arimathea.  16.  (F.  63  r.)  The  Ascension.  17.  (F.  69  v.) 
Christ  enthroned.  18.  (F.  78  v.)'The  Circumcision.  19.  (F.  83  r.)  The 
Massacre  of  the  Innocents.  20.  (F.  89  r.)  Christ  blessing  the  Virgin 
Mary.    21.  (F.  141  r.)  God  the  Father  enthroned. 

Twelve  of  the  small  miniatures  depict  the  zodiacal  signs  in  circular 
form  at  the  foot  of  the  rectos  of  the  pages  of  the  Calendar.  The  remain- 
ing 19  small  paintings  depict  St.  Luke,  St.  Matthew,  and  St.  Mark  (folios 
14-16),  the  Virgin  and  Child,  the  Assumption  of  the  Virgin,  and  the 
Mater  Dolorosa,  pierced  with  many  swords  (folios  26-31);  an  Angel 
ministering  to  the  Virgin  (folio  33  r.),  the  Pieta,  Christ  before  Pilate,  the 
Scourging,  God  the  Father  (2),  the  Entombment,  the  Descent  from  the 
Cross  (3),  a  Burial  and  a  Communion  Service,  the  Crucifixion,  the  Host, 
St.  Anna  and  the  Virgin  (2),  the  second  time  accompanied  by  St. 
Nicholas. 

On  folios  13  recto  and  38  verso  are  painted  in  the  borders  the  arms  of 
the  original  owner,  on  the  latter  page  both  alone  and  impaled  with  others. 

All  of  the  miniatures  are  carefully  painted,  in  gorgeous  colours. 

HORiE  BEAT^  MARI^  VIRGINIS.    S^c.  XV. 

4to,  old  Flemish  (?)  red  morocco,  hack  and  side  'panels  elab- 
orately tooled  in  scrolls,  flowers,  and  small  ornaments,  gaufjred 
gilt  edges.  In  a  cloth  case  with  brass  clasps,  lined  with  blue  satin. 

A  Flemish  Book  of  Hours  written  in  gothic  characters  upon  fine  vellum 
during  the  latter  part  of  the  fifteenth  century.     166  X  117  mm. 

It  contains  206  leaves  (folio  122  blank)  including  13  for  the  Calendar, 
with  14  lines  to  the  page.  There  are  13  large  and  40  small  miniatures, 
36  in  the  Calendar  and  4  (the  Evangelists)  in  the  text.  Almost  every  page 
has  a  rich  border  of  fruit,  flowers,  and  birds  on  a  dull  gold  ground,  and 
there  are  numerous  floriated  initials. 

The  Calendar,  written  in  red  and  black  in  Latin,  has  a  trilateral  border 
on  each  page,  at  the  foot  of  which  are  miniatures  appropriate  to  the 
months,  with  the  signs  of  the  zodiac.  The  execution  of  these  paintings  is 
not  equal  to  that  of  the  others  throughout  the  volume,  which  are  evi- 
dently by  a  different  artist. 


68  HORiE 

The  subjects  of  the  large  miniatures,  all  of  which  are  on  the  verso  of 
the  leaves,  are  1.  (F.  14)  The  Crucifixion;  a  fountain  surrounded  by 
columns  and  open  to  the  sky,  a  landscape  in  the  background,  for  the  most 
part  hidden  by  the  panel  containing  the  scene,  2.  (F.  22)  The  Descent 
of  the  Holy  Ghost.  3.  (F.  29)  The  Virgin  and  Child.  4.  (F.  42)  The 
Annunciation ;  the  Angel  surrounded  by  four  smaller  Angels.  5.  (F.  62) 
The  Visitation  of  Elizabeth;  two  Flemish  houses  and  a  gateway  in  the 
background.  6.  (F.  75)  The  Nativity.  7.  (F.  81)  The  Announcement 
to  the  Shepherds.  8.  (F.  87)  The  Adoration  of  the  Magi,  one  of  whom  is 
black.  9.  (F.  93)  The  Presentation  in  the  Temple.  10.  (F.  99)  The 
Massacre  of  the  Innocents.  11.  (F.  108)  The  Flight  into  Egypt.  12. 
(F.  123)  The  Last  Judgment;  Christ  seated  on  a  golden  arc,  His  feet  on 
a  ball,  a  sword  extending  from  His  left  cheek,  an  olive  branch  from  the 
right,  a  crowd  of  people  behind  him,  and  below,  the  dead  rising  from 
their  graves.    13.  (F.  147)  The  Raising  of  Lazarus. 

The  volume  begins  with  "Hore  sancte  crucis"  (folios  15-21)  and 
"Hore  sancto  spiritu"  (folios  23-28). 

The  large  miniatures  and  the  borders  were  painted  by  an  artist  of  the 
first  rank,  with  delicacy  of  technique  and  brilliancy  of  colouring.  The 
painting  of  the  Virgin  and  Infant  Christ  on  folio  29  verso  is  of  such 
beauty  and  perfection  of  finish  that  experts  have  considered  it  the  work 
of  Hans  Memling  (d.  1494).  The  manuscript  is  a  fine  example  of  the 
best  Flemish  art  of  the  period  in  an  interesting  old  binding. 

HORiE   (GHETIDE).    S^c.  XV. 

[Folio  15]  Hier  beghint  die  cortte  cruys  getide. 

[Folio  81]  Hier  beghint  onfer  lieuer  wrouwen  ancfkijn  dat 
ghemaect  heuet  die  gloriofe  doerluchtige  doctoor  enae  ho- 
nichuloepende  barnaerdus  abt  van  darendad.  Svo,  light 
brown  levant  morocco,  covered  with  a  design  of  mosaic  com.- 
partments  in  blue  and  brown  morocco  containing  red  flow- 
ers, the  intervals  filled  with  ivory  morocco,  light  green  orna- 
ments, and  a  design  in  small  gold  tools,  doubled  with  vellum 
tooled  in  gilt,  gaufjred  gilt  edges,  by  Mercier.  In  a  blind- 
tooled  brown  levant  morocco  case. 


HORiE  69 

A  Dutch  Book  of  Hours  executed  upon  vellum  presumably  during  the 
second  part  of  the  fifteenth  century.     168  X  113  mm. 

It  contains  164  leaves  (folios  80,  120,  and  121  blank  but  ruled)  in- 
cluding 13  for  the  Calendar,  with  19  lines  to  the  page.  There  are  14  large, 
55  half-page,  and  13  smaller  miniatures  besides  numerous  illuminated 
initials.  The  Calendar,  which  is  in  Dutch,  has  large  initials  in  blue 
and  red,  but  no  borders. 

Around  the  miniatures  and  in  some  instances  on  the  opposite  pages  are 
borders  of  fruit,  flowers,  birds,  and  insects,  on  a  dull  gold  ground.  On 
some  pages  are  scrolls  and  other  ornaments  in  blue  and  red. 

The  large  miniatures,  except  the  last,  are  on  the  verso  of  the  leaves; 
their  subjects  are  1.  (F.  14)  The  Crucifixion;  the  two  Maries  at  the  foot 
of  the  Cross.  2.  (F.  26)  The  Agony  in  the  Garden ;  an  angel  bearing  the 
Cross  and  other  symbols  of  the  Passion.  3.  (F.  28)  The  Betrayal.  4. 
(F.  32)  Christ  before  Pilate.  5.  (F.  35)  The  Scourging.  6.  (F.  38)  The 
Platting  of  the  Crown  of  Thorns.  7.  (F.  43)  The  Crucifixion ;  a  second 
representation,  with  Roman  soldiers  in  the  background.  8.  (F.  48)  The 
Descent  from  the  Cross.  9.  (F,  50)  The  Entombment ;  the  Cross  in  the 
distance.  10.  (F.  63)  The  Mass  of  St.  Gregory;  the  border,  painted  in 
grey,  depicting  two  open  windows  with  three  figures  behind  them,  and,  at 
the  foot,  the  pierced  Hands  and  Heart.  11,  (F.  122)  King  David  praying. 
12.  (F.  139)  The  Martyrdom  of  St.  Erasmus.  13.  (F.  142)  St.  Chris- 
topher. 14.  (F.  148  r.)  The  Virgin  and  Child,  with  outstretched  hand 
holding  a  flower. 

Folios  81  to  110  contain  55  small  miniatures  painted  by  "Barnaerdus 
abt  [abbot]  van  Darendad,"  as  the  transcription  from  folio  81  shows. 
They  are  in  a  different  manner  from  the  other  miniatures,  quainter,  and 
with  less  brilliant  colouring,  and  illustrate  the  Life  and  Passion  of  Christ. 
Folios  111-119  contain  thirteen  Saints  and  Angels.  The  subjects  are  the 
Symbols  of  the  Passion,  pierced  Hands,  Feet,  and  Heart,  the  Crown  of 
Thorns  and  the  Rosary,  seven  times  painted;  the  Annunciation;  the 
Visitation  of  Elizabeth ;  the  Announcement  to  the  Shepherds ;  the  Adora- 
tion of  the  Shepherds ;  the  Circumcision ;  the  Offerings  of  the  Magi,  one 
of  whom  is  black ;  the  Presentation  in  the  Temple ;  Simeon  blessing 
Christ  in  the  Temple ;  the  Flight  into  Egypt ;  Christ  among  the  Doctors ; 
the  Virgin  instructing  Christ ;  Christ's  Baptism ;  His  Temptation  by  the 
Devil;  the  Marriage  of  Cana;  three  Miracles,  in  one,  a  devilleaving  the 


70  HOR^ 

forehead  of  a  boy;  the  Raising  of  Lazarus,  one  of  the  group  holding  his 
nose;  Mary  Magdalene  anointing  Christ's  feet;  the  Last  Supper;  the 
Agony  in  the  Garden ;  the  Betrayal ;  two  scenes  of  Christ  before  Pilate ; 
the  Mocking  of  Christ ;  Christ  before  Herod ;  the  Scourging ;  the  Crown- 
ing with  Thorns;  the  People  choosing  between  Christ  and  Barabbas; 
Christ  bearing  the  Cross;  the  Nailing  to  the  Cross;  nine  other  scenes 
connected  with  the  Cross,  including  the  Seven  Words ;  the  Descent  from 
the  Cross ;  the  Entombment ;  the  Descent  into  Hell ;  the  Resurrection ; 
the  Appearance  to  the  Disciples;  the  Transfiguration,  the  footsteps 
apparent  on  the  hill ;  the  Descent  of  the  Holy  Ghost ;  the  Assumption 
of  the  Virgin;  the  Last  Judgment;  the  Trinity.  The  saints  depicted 
are  Sts.  Jerome,  Michael,  John  the  Baptist,  John  the  Evangelist,  Peter 
and  Paul,  Cornelius,  Martin,  Anna,  Catherine,  Barbara,  and  Agnes. 
The  miniatures  are  generally  of  a  high  order  of  merit. 

On  the  three  preliminary  blank  leaves  are  Dutch  arms  drawn  in  ink 
and  early  seventeenth  century  handwriting  in  Dutch,  showing  that  this 
manuscript  was  once  the  property  of  Dirck  van  Nuissenborch  of  Desselt 
near  Dort  (Dordrecht),  who  has  here  recorded  his  family  genealogy. 
This  record  is  continued  on  the  verso  of  the  last  of  the  three  final  blank 
leaves. 

HORiE  BEATiE  MARINE  VIRGINIS.    S^c.  XV. 

4<o,  green  levant  morocco,  gilt  back,  doubled  with  red  mo- 
rocco, dentelle  borders,  gilt  edges,  by  Cape. 

A  Flemish  Book  of  Hours  written  in  gothic  characters  upon  vellum 
during  the  second  part  of  the  fifteenth  century.    165  X  115  mm. 

It  contains  188  leaves,  including  12  for  the  Calendar,  with  15  lines  to 
the  page.  The  illuminations  consist  of  12  miniatures  with  oval  tops, 
surrounded  by  borders  of  flowers,  foliage,  birds,  fruit,  scrolls,  etc.,  in 
colours  and  burnished  gold,  the  stems  being  traced  with  the  pen.  170 
pages  of  text  have  lateral  borders,  of  similar  but  less  elaborate  character, 
and  on  5  pages  are  borders  extending  around  three  sides  of  the  leaf, 
with  large  initial  letters  in  blue  and  red  on  a  ground  of  burnished  gold. 
Throughout  the  manuscript  are  numerous  smaller  initials  with  this 
arrangement  of  colour  reversed. 

The  subjects  of  the  miniatures  are  1.  (F.  28  r.)  The  Annunciation; 
the  Virgin  seated  under  a  canopy  in  a  vaulted  room,  the  Dove  approach- 


HOR^  71 

ing  her  on  a  shaft  of  light  issuing  from  God  the  Father,  seen  through  a 
window.  2.  (F.  40  v.)  The  Visitation  of  EHzabeth.  3.  (F.  53  r.)  The 
Nativity;  the  stable  open  to  the  star-light.  4.  (F.  60  r.)  The  Announce- 
ment to  the  Shepherds ;  in  the  background  a  city  of  towers  beside  a  river. 
5.  (F.  65  r.)  The  Adoration  of  the  Magi;  the  same  scene  as  No.  3.  6. 
(F.  70  r.)  The  Presentation  in  the  Temple.  7.  (F.  75  r.)  The  Flight  into 
Egypt.  8.  (F.  83  r.)  The  Coronation  of  the  Virgin.  9.  (F.  90  r.)  King 
David  praying  before  an  altar.  10.  (F.  109  r.)  The  Crucifixion;  the 
Virgin  and  another  holy  woman  (Salome  ?)  at  the  left,  a  group  of  Roman 
soldiers  at  the  right.  11.  (F.  113  r.)  The  Descent  of  the  Holy  Spirit. 
12.  (F.  117  r.)  A  Burial  Service  in  a  church-yard,  a  group  of  eight  figures 
including  priests,  mourners,  and  the  grave-digger. 

According  to  the  hagiographical  indications  in  the  Calendar  (e.  g,,  St. 
Genevieve,  January  3;  St.  Denis,  October  9;  St.  Martin  of  Tours, 
November  11)  this  manuscript  was  executed  by  a  French  scribe  or  in- 
tended for  use  in  France,  and  the  borders  are  in  the  French  manner  also, 
but  the  miniatures  appear  to  have  been  painted  by  a  Flemish  artist.  They 
are  beautifully  executed,  with  rich  colours  and  careful  attention  to  de- 
tails of  architecture  and  costume.  The  perspective  is  excellent,  and  an 
interesting  feature  is  that  the  same  background  of  a  Flemish  ( ?)  city  of 
towers  beside  a  river  occurs  in  four  of  the  paintings,  Nos.  2,  4,  7,  and  10. 
The  Calendar  and  two  final  prayers  are  in  French. 

HOR.E  BEAT^   MARINE  VIRGINIS.     S^c.  XV. 

8vo,  brown  levant  morocco,  the  sides  and  back  tooled  in 
panels  with  corner  and  centre  ornaments,  vellum  linings,  gilt 
edges,  by  Bedford.    In  a  red  silk  wrapper. 

A  Flemish  Book  of  Hours  written  in  gothic  characters  upon  fine 
vellum  in  the  latter  part  of  the  fifteenth  century.     195  X  134  mm. 

It  contains  110  leaves  including  12  for  the  Calendar,  with  20  lines  to 
the  page,  and  there  are  11  large  miniatures  surrounded  by  borders  com- 
posed of  fruit,  flowers,  birds,  and  insects  on  a  dull  gold  ground,  also 
numerous  large  and  small  illuminated  initials. 

The  subjects  of  the  miniatures,  which  are  painted  on  the  rectos  of  the 
leaves,  are  1.  (F.  20)  The  Annunciation.  2.  (F.  31)  The  Visitation  of 
Elizabeth,  Joseph  accompanying  Mary.  3.  (F.  38)  The  Descent  of  the 
Holy  Spirit.    4.  (F.  39)  The  Nativity.    5.  (F.  43)  The  Announcement 


72  HORiE 

to  the  Shepherds.  6.  (F.  46)  The  Adoration  of  the  Magi.  7.  (F.  49.)  The 
Presentation  in  the  Temple.  8.  (F.  51)  The  Flight  into  Egypt.  9. 
(F.  55)  The  Coronation  of  the  Virgin,  a  choir  of  angels  in  the  background. 
10.  (F.  60)  The  Last  Judgment.    11.  (F.  74)  The  Raising  of  Lazarus. 

All  of  the  miniatures  are  delicately  painted,  with  frequent  use  of  dull 
gold. 

HORiE  BEAT.E   MARI.E  VIRGINIS.     S^c.  XV. 

24mo,  old  red  morocco,  gilt  side  borders  and  back,  gilt  edges. 
In  a  modem  case  of  brown  morocco. 

A  beautiful  little  Flemish  Book  of  Hours  executed  in  the  latter  part  of 
the  fifteenth  century  in  gothic  characters  upon  the  finest  of  vellum.  86  X 
61  mm. 

It  is  written  on  210  leaves,  including  13  for  the  Calendar,  with  15 
lines  to  the  page.  Folio  128  is  blank.  The  illuminations  consist  of  13 
delicately  painted  large  miniatures  with  oval  tops,  1  small  painting  of 
the  Pieta  (folio  200),  30  borders,  and  numerous  large  and  small  initial 
letters  in  camaieu  gris  on  a  gold  ground.  The  borders,  with  three  ex- 
ceptions, surround  the  miniatures  and  the  opposite  pages.  They  are  com- 
posed of  flowers,  fruits,  birds,  etc.,  exquisitely  painted  on  a  dull  gold 
ground,  in  the  usual  Flemish  manner. 

The  subjects  of  the  large  miniatures,  which  are  all  on  the  verso  of  the 
leaves,  are  1.  (F.  24)  The  Descent  of  the  Holy  Spirit.  2.  (F.  31)  The 
Virgin  and  the  Infant  Christ.  3.  (F.  41)  The  Annunciation.  4.  (F.  63) 
The  Visitation  of  Elizabeth.  5.  (F.  76)  The  Nativity.  6.  (F.  82)  The 
Announcement  to  the  Shepherds.  7.  (F.88)The  Adoration  of  the  Magi.  8. 
(F.  94)  The  Circumcision.  9.  (F.  100)  The  Massacre  of  the  Innocents.  10. 
(F.  110)  The  Flight  into  Egypt.  11.  (F.  117)  The  Coronation  of  the  Virgin. 
12.  (F.  129)  King  David  praying.    13.  (F.  153)  The  Raising  of  Lazarus. 

The  miniatures  are  remarkable  for  delicacy  of  composition  and  bril- 
liancy of  colour.  The  manuscript  was  formerly  in  the  collection  of  the 
Comte  de  Mosbourg. 

HOR.E  BEATiE   MARI^  VIRGINIS.     S^c.  XV. 

Small  4ft0y  old  French  red  morocco,  narrow  filleted  borders 
on  the  sides,  gilt  ornaments  on  the  back,  a  clasp  of  carved  and 
engraved  silver  on  a  silver-gilt  ground,  gilt  edges. 


HOR^  78 

A  French  Book  of  Hours  beautifully  written  in  gothic  characters  upon 
fine  vellum  in  the  second  half  of  the  fifteenth  century.    173  X  126  mm. 

There  are  152  leaves,  including  12  for  the  Calendar,  with  15  lines  to  the 
page ;  4  large  and  1  small  miniatures. 

Around  three  of  the  large  miniatures  and  on  the  opposite  pages  are 
brilliantly  painted  borders  of  flowers,  fruit,  birds,  and  insects,  in  red, 
blue,  and  green  on  a  dull  gold  ground.  The  fifth  large  miniature  and  the 
page  opposite  (folios  109  and  110)  have  a  flower  and  skull  decoration  in 
bright  colours  and  grey  on  a  grey  ground  flecked  with  gold  dots.  On 
both  pages  are  scrolls  bearing  the  legend,  "Memento  mori."  The  initial 
letter  on  folio  110  is  in  camaieu  (Tor  on  a  brown  ground,  and  contains  a 
skull.  The  first  page  of  the  text  has  a  border  of  brilliant  flowers  and  foli- 
age in  camaieu  gris  on  a  dull  gold  ground.  In  addition,  there  are  6  lateral 
borders  of  richly  coloured  flowers  on  a  bright  yellow  ground,  and  nu- 
merous illuminated  initials  in  three  sizes. 

The  subjects  of  the  miniatures  are  1.  (F.  22  v.)  The  Descent  of  the  Holy 
Spirit.  2.  (F.  34  v.)  The  Annunciation.  3.  (F.  91  v.)  King  David 
praying;  a  castle  and  a  river  in  the  background.  4.  (F.  109  v.)  "Les 
trois  vifs  et  les  trois  morts,"  with  a  skull  border.  5.  (F.  141  v.)  St.  John 
the  Baptist,  the  only  small  miniature. 

The  paintings  are  finely  executed,  with  good  perspective  and  careful 
attention  to  facial  expression  and  architectural  detail.  The  Calendar 
and  the  rubrics  are  in  French. 

On  the  first  and  last  pages  is  written,  in  seventeenth  century  hand- 
writing, "Guyon  de  Sardiere.'* 

HOR.E   BEAT^  MARI^  VIRGINIS.    S^c.  XV. 

Small  4to,  mauve  velvet,  grey  silk  linings^  gauffred  silver- 
gilt  clasps,  gilt  edges. 

A  French  Book  of  Hours  written  in  large  and  small  gothic  letters 
upon  fine  vellum  in  the  second  half  of  the  fifteenth  century.  157  X  107 
mm. 

There  are  115  leaves,  12  containing  the  Calendar,  with  17  lines  to  the 
page,  14  fine  large  miniatures  with  oval  tops,  and  numerous  initial  letters 
in  colours,  camaieu  gris,  and  gold. 

Around  the  miniatures  and  on  the  opposite  pages  are  beautiful  borders 
of  flowers,  fruit,  birds,  insects,  human  figures,  and  scrolls  in  brilliant 


74  HORiE 

colours  and  gold  on  a  ground  of  dull  gold,  white,  or  blue  studded  with 
gold  dots.  These  borders  are  frequently  divided  into  bands  or  compart- 
ments of  varied  designs. 

The  subjects  of  the  miniatures  are  1.  (F.  13  v.)  St,  John  the  Evangelist 
on  Patmos.  2.  (F.  15  v.)  The  Annunciation,  in  two  compartments,  the 
lower  one  representing  the  Virgin  seated  at  work;  surrounded  by  an 
architectural  border  in  camaieu  d'or.  3.  (F.  25  r.)  The  Visitation  of 
Elizabeth.  5.  (F.  39  v.)  The  Announcement  to  the  Shepherds.  6. 
(F,  44  r.)  The  Adoration  of  the  Magi.  These  last  three  paintings  have 
charming  landscapes  in  the  background.  7.  (F.  47  v.)  The  Presentation 
in  the  Temple,  in  two  compartments,  a  small  one  below  containing  the 
representation  of  a  library  with  a  reading-table;  the  border  is  of  an 
architectural  design  in  blue  and  camaieu  d'or.  8.  (F.  52  r.)  The  Flight 
into  Egypt.  9.  (F.  59  r.)  The  Massacre  of  the  Innocents.  The  last 
two  paintings  have  beautiful  landscapes.  10.  (F.  63  r.)  The  Crucifixion. 
11.  (F.  56  V.)  The  Descent  of  the  Holy  Spirit.  12.  (F.  69  v.)  The  Last 
Judgment.  13.  (F.  84  v.)  A  Burial  Service  in  a  chapel.  14.  (F.  107  r.) 
The  Coronation  of  the  Virgin. 

The  Calendar  is  in  French  and  the  manuscript  was  presumably  exe- 
cuted in  Sens. 

HOR.E   BEATiE  MARI^  VIRGINIS.    S^c.  XV. 

24mo,  dark  brown  levant  morocco,  blind-tooled  borders  on 
the  sides,  in  the  front  cover  a  silver  plaque  of  the  Virgin  and 
Child,  in  high  relief,  doubled  with  light  brown  morocco, 
narrow  borders,  gilt  edges,  by  The  Club  Bindery. 

A  French  Book  of  Hours  written  in  the  second  half  of  the  fifteenth 
century  in  gothic  characters  upon  the  finest  of  vellum.    84  X  61  mm. 

It  has  182  leaves,  including  12  for  the  Calendar,  with  15  lines  to  the 
page,  and  10  large  and  12  small  miniatures.  On  the  recto  of  each  page  of 
the  Calendar,  around  all  the  miniatures,  on  the  pages  opposite  them,  and 
on  5  other  pages  are  borders  (37  in  all)  of  flowers,  fruit,  birds,  and  insects 
on  a  gold  ground.  At  the  foot  of  the  borders  in  the  Calendar  are  small 
scenes  appropriate  to  the  month,  on  the  outer  margin  the  zodiacal  signs 
within  circles. 

The  large  miniatures  have  oval  tops  and  are  painted  on  the  verso  of  the 
leaves,  the  rectos  being  blank.    The  subjects  are  1.   (F.  13  v.)  The  Cruci- 


HOR^  75 

fixion.  2.  (F.  18)  The  Descent  of  the  Holy  Spirit.  3.  (F.  30)  The  An- 
nunciation. 4.  (F.  51)  The  Visitation.  5.  (F.  64)  The  Nativity.  6. 
(F.  70)  The  Announcement  to  two  Shepherds.  7.  (F.  80)  The  Circum- 
cision. 8.  (F.  99)  The  Coronation  of  the  Virgin.  9.  (F.  110)  King 
David  praying  outside  of  a  castle.  10.  (F.  131)  The  Raising  of 
Lazarus. 

There  are  numerous  large  and  small  initial  letters  in  camaieu  gris  on  a 
gold  ground  and  in  gold  on  a  red  ground,  the  latter  with  floral  decorations 
on  the  margins, 

HOR.E   BEAT^   MARI^  VIRGINIS.    S^c.  XV. 

Heures  de  la  Vierge  fran9oises  et  latines,  avec  calendrier. 

Folio,  red  velvet  over  oak  hoards,  the  edges  painted  upon 
the  gilt.    In  a  case  of  green  levant  morocco. 

A  magnificent  French  Book  of  Hours  written  in  gothic  characters  upon 
vellum  in  the  fifteenth  century,  for  one  of  the  family  of  Habert  du  Berry 
d'Artois,  possible  progenitor  of  the  poets  Fran9ois,  Pierre,  Isaac  (I  and 
II)  and  Suzanne  Habert.  The  arms  of  the  owner  occur  twice  in  the  bor- 
ders on  folios  47  and  146,  alone  and  impaled  with  those  of  the  Pericard 
family  of  Champagne,  formerly' of  the  Netherlands.  As  the  text  is  for 
the  most  part  in  French  verse,  although  written  in  long  lines  simulating 
prose,  it  is  not  improbable  that  this  poetical  version  of  the  Heures  de  la 
Vierge  was  made  by  the  member  of  the  family  of  Habert  for  whom  the 
manuscript  was  executed.    266  X  185  mm. 

There  are  237  leaves,  with  12  for  the  Calendar,  and  16  lines  to  the 
page.  Folios  46  and  200  are  blank.  The  illuminations  consist  of  29 
large  and  34  small  miniatures,  24  of  the  latter  in  the  Calendar,  and  all  of 
them  in  the  borders. 

Every  page  is  surrounded  by  a  rich  "line  and  leaf"  border  in  black  and 
burnished  gold,  introducing  flowers,  birds,  animals,  insects,  centaurs, 
grotesques,  etc.  In  the  lower  part  of  the  borders  on  the  recto  of  the 
leaves  of  the  Calendar  are  square  miniatures  representing  scenes  ap- 
propriate to  each  month;  in  the  outer  margins  are  the  signs  of  the 
zodiac  in  circular  form.  The  borders  surrounding  the  miniatures  are 
more  elaborate  than  the  others,  having  inner  borders  of  red  and  blue  on  a 
burnished  gold  ground,  similar  in  treatment  to  the  numerous  large  initial 
letters  throughout  the  volume. 


76  HORiE 

The  subjects  of  the  miniatures  are  1.  (F.  13  r.)  St.  John  the  Evangelist 
on  Patmos ;  the  Eagle  holding  the  ink-well,  which  the  Devil  attempts  to 
snatch.  2.  (F.  15  r.)  St.  Matthew.  3.  (F.  17  r.)  St.  Luke  painting  the 
portrait  of  the  Virgin  and  Child.  4.  (F.  19  r.)  St.  Mark.  5.  (F.  21  r.) 
The  Betrayal ;  in  the  four  corners  of  the  border  are  circular  miniatures  re- 
lating to  the  Passion.  6.  (F.  23  r.)  Christ  before  Herod.  7.  (F.  25  r.) 
The  Scourging.  8.  (F.  27  r.)  Christ  bearing  the  Cross.  9.  (F.  29)  The 
Crucifixion,  the  two  thieves  on  each  side.  10.  (F.  31  r.)  The  Descent 
from  the  Cross.  11.  (F.  33  r.)  The  Entombment.  12.  (F.  37  r.)  The 
Descent  of  the  Holy  Spirit.  13.  (F.  47  r.)  The  Annunciation;  in  the 
four  corners  of  the  border  are  1  small  and  3  larger  circular  miniatures 
depicting  the  Angel  appearing  to  Joachim,  the  Birth  of  the  Virgin,  her 
Marriage,  and  an  Angel  ministering  to  her.  An  historiated  initial  on  this 
page  represents  the  Meeting  of  Joachim  and  Anna.  14.  (F.  63  r.)  The 
Visitation  of  Elizabeth;  a  handmaiden  in  the  background.  15.  (F.  77  v.) 
The  Nativity.  16.  (F.  86  v.)  The  Announcement  to  the  Shepherds,  one 
of  whom  is  a  woman;  in  the  background  a  city.  17.  (F.  93  r.)  The 
Adoration  of  the  Magi.  18.  (F.  99  r.)  The  Presentation  in  the  Temple. 
19.  (F.  106  r.)  The  Flight  into  Egypt;  in  the  background  a  charming 
little  landscape.  20.  (F.  116  r.)  The  Coronation  of  the  Virgin.  21. 
(F.  127  r.)  King  David  praying  before  an  altar.  22.  (F.  146  v.)  The 
Virgin  and  Child  enthroned;  kneeling  at  their  feet  are  a  man  and 
woman,  possibly  the  original  owners  of  the  manuscript.  In  the  margin 
are  the  Habert  and  Pericard  arms.  23.  (F.  151  r.)  The  Pieta,  within  an 
architectural  border  at  the  top  of  which  are  fleurs-de-lys  in  gold  on  a 
blue  ground.  24.  (F.  156  r.)  St.  Michael  and  the  Dragon.  25.  (F.  158r.) 
St.  Mary  Magdalene  and  the  resurrected  Christ.  26.  (F.  160  v.)  St. 
Christopher.  27.  (F.  162  r.)  The  Martyrdom  of  St.  Sebastian.  28. 
(F.  178  r.)  The  Martyrdom  of  St.  Catherine.  29.  (F.  201  r.)  A  Burial 
Service  in  a  church-yard.  In  the  outer  margin  of  the  border  on  folio 
173  verso  is  an  exquisitely  painted  representation  of  the  crowned  Virgin 
and  Child,  whose  face  is  covered  by  a  transparent  veil. 

The  paintings  in  this  manuscript  are  remarkable  for  their  architec- 
tural detail,  elaboration  of  costume,  vigorous  drawing,  and  beauty  of 
colour.  Textually  also  the  volume  is  of  unusual  interest,  and  may  have 
descended  through  three  generations  of  the  Habert  family. 


HOR.E  77 

HORiE  BEATJE  MARI.E  VIRGINIS.    S^c.   XV. 

8vo,  red  levant  morocco,  gilt  and  blind-tooled  in  an  Aldine 
design  of  fillets  and  ornaments,  doubled  with  blue  morocco, 
narrow  borders,  vellum  guards,  gilt  edges,  by  Bretault. 

A  French  Book  of  Hours  written  in  roman  characters  of  black,  blue, 
and  red  upon  vellum  in  the  second  part  of  the  fifteenth  century.  192  X 
125  mm. 

It  consists  of  119  leaves,  4  containing  the  Calendar,  with  21  lines  to  the 
page ;  the  text  is  within  borders  of  burnished  gold,  red,  and  blue.  There 
are  16  large  and  44  small  miniatures,  of  which  24  are  in  the  Calendar. 
The  large  paintings  are  surrounded  by  borders  of  flowers,  fruit,  birds, 
insects,  and  grotesques  in  brilliant  colours  on  a  gold  ground,  with  the 
exception  of  two,  which  have  borders  of  an  architectural  design,  in 
shaded  gold.  These  are  also  numerous  large  and  small  initials  in  gold 
on  a  blue  and  red  ground. 

The  subjects  of  the  large  miniatures  are  1.  (F.  4  v.)  The  Creation  of 
Eve,  a  full-page  painting  showing  in  the  background  the  Temptation 
and  Fall  and  the  Expulsion  from  the  Garden  of  Eden ;  the  border  is  of 
architectural  design  in  shaded  gold,  with  a  blank  (or  effaced)  escutcheon. 
2,  (F.  5  r.)  St.  John  the  Evangelist  on  Patmos;  of  half-page  size.  3. 
(F.  9  r.)  The  Virgin  and  Child,  two  angels  behind  them  playing  the  lute 
and  the  harp.  4.  (F.  13  r.)  The  Agony  in  the  Garden;  Judas  and  the 
Roman  soldiers  advancing  through  a  gate  in  the  background.  5.  (F. 
20  r.)  The  Annunciation.  6.  (F.  27  v.)  The  Visitation  of  Elizabeth.  7. 
(F.  35  V.)  The  Crucifixion;  the  Virgin  Mary  and  Mary  Magdalene  at 
the  foot  of  the  Cross.  8.  (F.  36  v.)  The  Descent  of  the  Holy  Spirit.  9. 
(F.  37  V.)  The  Nativity.  10.  (F.  41  r.)  The  Announcement  to  the  Shep- 
herds; in  an  architectural  border.  11.  (F.  44  v.)  The  Adoration  of  the 
Magi.  12.  (F.  48  r.)  The  Presentation  in  the  Temple;  a  group  of  six 
people  including  Joseph,  Anna,  and  an  acolyte.  13.  (F.  51  v.)  The 
Flight  into  Egypt ;  in  the  foot  of  the  border  a  blank  (or  effaced)  escutch- 
eon. 14.  (F.  57  r.)  The  Coronation  of  the  Virgin.  15.  (F.  71  r.)  King 
David  receiving  a  messenger.  16.  (F.  84  r.)  Job  with  his  wife  and  two 
of  his  comforters. 

The  24  miniatures  in  the  Calendar  are  arranged  with  2  on  the 'outer 
margin  and  2  at  the  foot  of  the  page,  each  of  which  contains  two  months 
enclosed  in  borders  of  an  architectural  design  in  shaded  gold.    The  sub- 


78  nORJE 

jects  are  the  zodiacal  signs  and  rural  scenes  appropriate  to  the  months. 
The  other  20  small  miniatures  depict  (folios  6-11)  St.  Luke,  St.  Matthew, 
St.  Mark,  and  the  Pieta;  (folios  111-119)  the  Trinity,  St.  Michael,  St. 
John  the  Baptist,  and  St.  John  the  Evangelist,  Sts.  Peter  and  Paul,  St. 
James  the  Major,  St.  Sebastian,  St.  Roch,  St.  Fiatrus,  St.  Anthony, 
St.  Anna,  St.  Mary  Magdalene,  St.  Margaret,  St.  Catherine,  St.  Barbara, 
St.  Augustine. 

The  large  miniatures  are  more  highly  finished  than  the  small  ones  and 
appear  to  have  been  painted  by  a  more  skilful  artist  than  the  one  who 
executed  the  small  ones.     The  colours  are  extremely  brilliant,  with  fre 
quent  use  of  dull  gold. 

HORvE   BEAT.E   MARI.E  VIRGINIS.    S^c.  XV. 

4<o,  broum  levant  morocco,  centre  mosaic  ornaments  of 
darker  broion  morocco  in  interlacing  bands  tooled  with  scrolls 
and  azured  ornaments,  gilt  edges,  by  Cape.  In  a  crimson 
velvet  wrapper. 

A  French  Book  of  Hours  written  in  gothic  characters  upon  196  vellum 
leaves,  with  13  lines  to  the  page,  during  the  second  half  of  the  fifteenth 
century.     198  X  132  mm. 

The  Calendar,  which  is  in  French,  occupies  12  leaves.  Folio  82  is 
blank.  At  the  end  of  the  volume  are  3  leaves  containing  contemporary 
handwriting.  There  are  6  large  and  14  small  miniatures  surrounded  by 
delicately  painted  borders  of  fruit,  flowers,  birds,  and  grotesques,  those 
around  the  large  paintings  having  a  dull  gold  ground.  The  seven  divi- 
sions of  the  Hours  proper  (folios  28-76)  have  historiated  initials  with 
borders,  instead  of  the  usual  miniatures  found  in  this  part  of  similar 
manuscripts.    Throughout  the  volume  are  numerous  illuminated  initials. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13  v.)  St.  John  the  Evan- 
gelist on  Patmos.  2.  (F.  83  r.)  The  Annunciation.  3.  (F.  97  r.)  The 
Crucifixion.  4.  (F.  101  v.)  The  Descent  of  the  Holy  Spirit;  in  a  portico 
with  a  landscape  in  the  distance.  5.  (F.  105  r.)  King  David  praying  to 
the  crucified  Christ,  who  sits  on  a  rainbow  accompanied  by  angels.  6. 
(F.  129  r.)  A  Burial  Service  outside  of  a  church. 

The  small  miniatures  represent  Luke,  Matthew,  and  Mark,  in  robes 
with  ermine  collars  (folios  15-19),  the  Pieta  (folio  91),  the  Scourging  of 
Christ,  St.  Bernard  of  Clairvaux  with  the  Devil  attached  by  a  chain,  St. 


HORiE  79 

Benignus,  St.  John  the  Baptist,  St.  John  the  Evangelist,  St.  Sebastian, 
St.  Christopher,  St.  Barbara,  St.  Catherine,  and  St.  Apollonia  (foHos 
185-195). 

HORiE  BEAT^   MARIiE  VIRGINIS.     S^c.  XV. 

4to,  Lavalliere  morocco  covered  with  a  Grolieresque  design 
of  interlacing  mosaic  bands  in  maroon  and  dark  and  light 
brown  morocco  tooled  in  azured  ornaments^  doubled  with  green 
morocco  gilt-tooled  "a  la  fanfare,''  guards  of  cloth  of  gold, 
gauffred  gilt  edges,  by  David;  Marius  Michel,  gilder.  In  a 
case  of  brown  morocco. 

A  French  Book  of  Hours  written  in  large  and  small  gothic  letters  upon 
vellum  during  the  second  half  of  the  fifteenth  century.    172  X  126  mm. 

There  are  127  leaves,  including  6  for  the  Calendar,  and  21  lines  to  the 
page ;  Q5  miniatures,  13  large  and  52  small,  of  which  24  are  in  the  Cal- 
endar. The  pages  surrounding  the  Calendar  and  the  miniatures  have 
borders  of  flowers,  foliage,  and  a  variety  of  grotesques  in  brilliant  colours 
on  a  dull  gold  ground.  All  of  the  other  pages  have  side  borders  of  the 
same  character,  the  designs  for  the  most  part  being  the  same  on  the  recto 
and  the  verso  of  the  leaves. 

The  subjects  of  the  large  miniatures  are  1.  (F.  7  r.)  St.  John  the  Evan- 
gelist on  Patmos;  in  an  architectural  border  of  shaded  gold  and  blue. 
2.  (F.  19  r.)  The  Annunciation;  the  scene  is  a  jewelled  portico  contain- 
ing statues  of  three  saints,  the  Virgin  kneeling  under  a  canopy,  a  land- 
scape in  the  background.  This  painting  is  surrounded  by  a  miniature 
border  containing  seven  small  scenes  from  the  life  of  the  Virgin.  3. 
(F.  34  v.)  The  Visitation  of  Elizabeth,  one  of  the  most  carefully 
painted  of  the  illuminations.  4.  (F.  42  v.)  The  Nativity;  Joseph  drying 
a  piece  of  linen  before  the  fire,  two  Shepherds  outside  the  stable.  5. 
(F.  46  V.)  The  Announcement  to  the  Shepherds;  in  the  sky  two  angels 
holding  a  golden  scroll  on  which  is  written  "Gloria."  6.  (F.  49  v.)  The 
Adoration  of  the  Magi;  also  exquisitely  painted.  7.  (F.  52  v.)  The 
Presentation  in  the  Temple.  8.  (F.  55  v.)  The  Massacre  of  the  Inno- 
cents; Herod  enthroned  commanding  two  soldiers;  through  a  window 
is  seen  the  Flight  into  Egypt.  9.  (F.  64  r.)  The  Crucifixion;  the  Virgin 
and  three  other  holy  women  at  the  left  of  the  Cross,  a  Roman  soldier  on 
horseback  at  the  right,  a  group  of  soldiers  in  the  background.     10.  (F. 


80  HOR.E 

66  V.)  The  Descent  of  the  Holy  Spirit.  11.  (F.  69  r.)  David  and  Bath-' 
sheba,  who,  attended  by  two  serving-women,  sits  on  the  edge  of  a  foun- 
tain bathing  her  feet;  surrounded  by  a  border  of  architectural  design  in 
shaded  gold  and  red  introducing  cupids.  12.  (F.  81  v.)  Death,  astride  a 
bull,  killing  a  lady,  evidently  on  her  way  to  mass ;  on  the  ground  lies  her 
companion,  dead.  13.  (F.  109  r.)  The  Pieta;  the  Virgin  with  Christ  on 
her  knees  attended  by  a  group  of  holy  women,  including  Mary  Magda- 
lene with  her  vase  of  ointment. 

The  24  small  miniatures  in  the  Calendar  represent  scenes  appropriate 
to  the  months  and  the  zodiacal  signs.  The  former  are  in  the  upper  part 
of  the  pages  with  oval  tops  and  pillars  at  each  side ;  the  latter  are  at  the 
foot.  Nos.  25-27  (folios  9-12)  represent  St.  Luke,  St.  Matthew,  and  St. 
Mark.  On  folio  13  are  Nos.  28-31,  in  an  architectural  border  of  four 
compartments  containing  the  Crucifixion,  the  Descent  from  the  Cross, 
the  Entombment  by  Joseph  of  Arimathea,  and  the  Pieta.  32.  (F.  14  v.) 
St.  Anna  and  the  Virgin  as  a  Child  in  prayer.  33.  (F.  17  r.)  St.  Ber- 
nard of  Clairvaux;  the  Devil  stealing  his  ink-well.  34-40.  (F.  19  r.)  A 
miniature  border  with  seven  compartments;  at  the  left  a  saint  with  a 
scroll  bearing  the  legend  "Ecce  virgo,"  below  him  another  saint,  with 
the  completion  of  the  device,  "et  pariet";  at  the  right  the  meeting  of 
Joachim  and  Anna,  the  Birth  of  the  Virgin,  the  Benediction  by  the  High 
Priest,  the  Annunciation,  and  the  Marriage  of  the  Virgin  and  Joseph. 
41.  (F.  112  r.)  The  Virgin  and  Child  within  a  crescent.  41-52.  (Ff. 
122-127)  St.  Michael  with  a  pair  of  scales,  Sts.  John  the  Baptist  and 
the  Evangelist,  Sts.  Peter  and  Paul,  St.  James  the  Major,  St.  Stephen, 
St.  Mary  Magdalene,  St.  Catherine,  St.  Margaret,  St.  Barbara,  St. 
Apollonia, 

The  Calendar  is  in  French,  also  the  prayers  from  folios  114-121.  From 
the  hagiographical  indications  in  the  Calendar,  the  manuscript  was  evi- 
dently intended  for  use  in  France,  but  the  borders  and  some  of  the  minia- 
tures show  Flemish  influence.  More  than  one  scribe  worked  upon  this 
volume,  and  it  is  possible  that  two  or  more  artists  illuminated  it.  All  of 
the  large  miniatures  are  brilliantly  painted,  with  much  originality,  and 
are  superior  in  execution  to  the  others. 

On  nine  vellum  fly-leaves  at  the  beginning  and  end  of  the  volume  is  a 
description  of  the  miniatures  in  French,  dated  1866. 

From  the  collection  of  Henri  Bordes. 


HORiE  81 

IIORiE   BEATiE   MARIiE  VIRGINIS.    S^c.  XV. 

4to,  original  blue  velvet  covers,  gilt  edges.  In  a  modem 
case  of  red  levant  morocco. 

A  beautiful  French  Book  of  Hours  written  in  the  latter  part  of  the  fif- 
teenth century,  in  gothic  letters  upon  fine  vellum.    171  X  115  mm. 

There  are  217  leaves,  including  12  for  the  Calendar,  with  15  lines  to 
the  page.  It  contains  14  large  and  5  small  miniatures,  3  of  the  latter 
within  borders,  24  elaborately  painted  miniature  borders  in  the  Calendar, 
and  34  scenes  of  skull  and  cross-bones  in  the  borders. 

On  all  of  the  pages  of  the  Calendar  are  depicted  subjects  appropriate 
to  the  months,  the  text  being  in  the  centre  in  letters  of  burnished  gold,  red 
and  blue.  On  the  verso  of  each  leaf  is  a  sign  of  the  zodiac.  From  folios 
13-148  and  207-217  there  are  side  borders  accompanying  the  text,  com- 
posed of  flowers,  foliage,  fruit,  and  scrolls  in  bright  colours  on  a  ground 
of  gold,  dark  brown,  and  red.  The  pages  of  the  Office  of  the  Dead 
(folios  149-206)  have  side  borders  composed  of  skulls  and  bones  in 
camaieu  gris  on  a  black  ground,  introducing  the  figures  of  Job,  Satan, 
Death  carrying  a  coffin.  Death  with  a  spear,  bishops,  monks,  angels,  etc. 
The  borders  surrounding  the  large  miniatures  are  of  architectural  design 
in  camaieu  d'or,  or  floral  in  colours  on  a  gold  ground. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13  r.)  St.  John  the 
Evangelist  on  Patmos;  full-page  in  a  narrow  gold  border.  2.  (F.  29  r.) 
The  Annunciation;  within  an  architectural  tablet.  3.  (F.  58  r.)  The 
Visitation  of  Elizabeth;  half-page,  with  a  charming  landscape  in  the 
background.  The  lower  part  of  the  page  contains  a  border  of  red  and 
white  flowers  on  a  ground  of  azured  gold.  This  arrangement  of  border  is 
characteristic  of  the  present  manuscript  and  rather  unusual,  4.  (F. 
72  r.)  The  Nativity;  half-page,  with  border  similar  in  effect  to  the  one 
surrounding  No.  3.  5.  (F.  79  v.)  The  Announcement  to  one  Shepherd; 
half-page,  with  lower  border  of  red  roses  on  a  gold  ground.  6.  (F.  85  r.) 
The  Adoration  of  the  Magi,  one  of  whom  is  black ;  a  full-page  painting 
representing  the  manger  with  Corinthian  columns.  The  border  is  of 
jewels  on  a  ground  of  camaieu  d'or.  7.  (F.  90  r.)  The  Presentation  in  the 
Temple;  of  half-page  size,  containing  the  Virgin  and  Child,  Joseph, 
Simeon,  and  Salome,  with  border  similar  to  No.  3.  8.  (F.  96  r.)  The 
Flight  into  Egypt;  full-page  with  a  beautiful  landscape  in  the  back- 
ground, the  border  jewelled.    9.  (F.  104  r.)  The  Coronation  of  the  Virgin ; 

6 


82  HOR.E 

half-page  with  lower  floral  border.  10.  (F.  Ill  r.)  David  praying  at  the 
entrance  to  a  cave;  within  an  architectural  border  containing  in  the 
pediment  the  head  of  Christ  surrounded  by  a  wreath  of  laurel.  11.  (F. 
133  r.)  The  Crucifixion;  full-page  within  a  gold  border;  the  Virgin  and 
St.  John  at  the  foot  of  the  Cross.  12.  (F.  142  r.)  The  Descent  of  the  Holy 
Spirit;  half-page.  13.  (F.  149  r.)  Death  sitting  in  a  coffin;  a  jewelled 
border  surrounded  by  a  second  design  of  violets  and  skulls  and  bones  in 
gold.  14.  (F,  207  V.)  "C'est  la  mesure  de  la  playe  fire  Seigneur,"  a 
curious  representation  of  Christ's  wound  enclosed  in  a  golden  vessel  and 
upheld  by  two  kneeling  angels,  the  whole  within  an  elaborate  architec- 
tural border  of  camaieu  d'or. 

The  small  miniatures  represent  St.  Luke,  St.  Matthew,  and  St.  Mark 
(in  the  borders  on  folios  14  v.,  16  r.,  and  18  r.),  the  Virgin  and  Child 
(19  v.),  and  the  Virgin  (24  r.). 

The  colouring  and  perspective  of  all  the  exquisite  miniatures  in  this 
manuscript  are  suggestive  of  the  school  of  Touraine. 

UORM  BEAT^   MARI.E  VIRGINIS.     S^c.  XV. 

4<o,  red  levant  morocco  delicately  tooled  in  an  intricate 
design  of  fillets  and  dots  in  compartments  with  mosaic  orna- 
ments of  dark  green  and  citron  morocco,  the  tooling  suggestive 
of  Le  Gascon;  doubled  with  brown  morocco,  wide  dentelle 
borders,  red  moire  silk  guards,  gilt  edges,  by  Cape.  In  a  red 
morocco  case  with  old  silver  clasps. 

A  beautiful  French  Book  of  Hours  written  in  gothic  characters  upon 
vellum  in  the  latter  part  of  the  fifteenth  century.    167  X  122  mm. 

There  are  169  leaves,  including  12  for  the  Calendar,  15  lines  to  the 
page,  with  the  exception  of  folio  13,  which  has  18  lines  in  different  calli- 
graphy from  the  rest  of  the  volume.  It  contains  9  large  miniatures  with 
oval  tops  and  numerous  illuminated  initials. 

Each  painting  is  surrounded  by  a  border  of  flowers,  fruit,  scrolls, 
birds,  insects,  etc.,  in  compartments  on  a  gold  or  white  ground.  The 
pages  of  text  have  side  borders  of  similar  design. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13  r.)  St.  John  the 
Evangelist  on  Patmos.  2.  (F.  49  r.)  The  Nativity.  3.  (F.  56  r.)  The 
Announcement  to  the  Shepherds.  4.  (F.  61  r.)  The  Adoration  of  the 
Magi.    5.  (F.  69  r.)    The  Flight  into  Egypt.    6.  (F.  77  r.)    The  Coro- 


UORJE  83 

nation  of  the  Virgin.  7,  (F.  83  r.)  King  David  praying.  8.  (F.  103  v.) 
St.  Veronica  and  the  emblems  of  the  Passion,  9.  (F.  112  r.)  St.  Ber- 
nard of  Clairvaux  seated  writing  at  a  desk  beside  which  stands  the  devil 
tempting  him. 

All  of  the  miniatures  are  well  painted,  the  first  one  evidently  by  a 
different  artist  from  the  others,  and  in  more  delicate  colours. 

HORiE   BEAT^   MARIiE  VIRGINIS.    S^c.  XV. 

4to,  old  red  morocco,  the  arms  of  Jean  du  Bouchet,  Conseil- 
ler  du  Roi  (d.  about  1685),  on  both  sides,  a  monogram  in  the 
comers  and  in  the  back  panels,  gilt  edges. 

A  French  Book  of  Hours  written  in  the  latter  part  of  the  fifteenth 
century  in  large  and  small  gothic  letters  upon  vellum.     145  X  93  mm. 

It  contains  189  leaves,  12  being  for  the  Calendar,  a  blank  leaf  (117), 
and  a  frontispiece  having  on  the  verso  a  full-page  miniature  of  the 
owner  of  the  manuscript  kneeling  in  prayer,  in  a  semi-open  chapel 
commanding  a  view  of  a  walled  town ;  St.  John  the  Evangelist  and  St. 
John  the  Baptist  are  standing  behind  him.  At  the  top  of  the  chapel 
are  his  arms;  on  the  recto  of  the  leaf  is  another  escutcheon  (fourteen 
ermines  and  crescents  on  a  silver  ground)  surrounded  by  interlacing 
ribbons  of  red  and  gold,  with  the  initials  "L.  I."  in  the  four  corners. 
The  illumination  on  this  page  appears  to  have  been  added  at  a  later 
date. 

There  are  11  other  beautiful  half-page  miniatures  with  oval  tops,  and 
1  historiated  initial  (f.  54  r.)  depicting  the  Visitation  of  Elizabeth. 
Around  these  12  miniatures  are  borders  of  fruits,  flowers,  birds,  and 
grotesques  in  brilliant  colours  heightened  with  gold.  The  initial  letters 
throughout  the  volume  are  remarkable  for  their  variety  of  design  and 
colour. 

The  subjects  of  the  11  miniatures  are  1.  (F.  42  r.)  The  Annunciation; 
the  border  on  this  page  is  the  only  one  on  a  gold  ground.  2.  (F.  68  r.) 
The  Nativity.  3.  (F.  73  r.)  The  Announcement  to  the  Shepherds.  4. 
(F.  77  r.)  The  Adoration  of  the  Magi.  5.  (F.  81  r.)  The  Presentation 
in  the  Temple.  6.  (F.  85  r.)  The  Flight  into  Egypt;  a  city  beside  a 
river  in  the  background,  the  devil  ( ?)  plunging  through  the  air.  7.  (F. 
93  r.)  The  Coronation  of  the  Virgin.  8.  (F.  118  r.)  King  David 
praying  before  an  altar  in  a  chapel.     9.  (F.  143  v.)    The  Crucifixion; 


84  HOR^ 

one  of  the  soldiers  bears  a  pennant  with  the  split-eagle  device.  10.  (F. 
148  r.)  The  Descent  of  the  Holy  Spirit.  11.  (F.  152  r.)  Death  slaying 
his  victims;  an  unusual  composition  depicting  a  street  scene,  two  dead 
on  the  ground,  a  youth  about  to  receive  the  arrow  of  Death,  who  is  in 
the  form  of  a  cadaver  with  a  dagger  in  his  left  hand.  The  brilliant  red 
of  these  two  weapons  is  characteristic  of  several  of  the  paintings  in  this 
volume.  All  of  the  illuminations  are  beautifully  executed,  with  mi- 
croscopic attention  to  detail. 

HORACE  BEAT^   MARINE  VIRGINIS.     S^c.  XV. 

8^0,  brown  levant  morocco  covered  with  a  Grolieresque 
design  of  interlacing  bands  in  green  enamel,  with  red  and 
white  enamel  ornaments,  gilt  tooled  in  fillets  and  azured 
arabesques,  vellum  linings,  gilt  edges,  by  Duru.  In  a  case  of 
red  morocco. 

A  French  Book  of  Hours  executed  in  gothic  characters  upon  fine 
vellum  in  the  latter  part  of  the  fifteenth  century.    157  X  112  mm. 

There  are  158  leaves,  12  containing  the  Calendar,  with  21  lines  to  the 
page.  The  illuminations  are  9  exquisitely  painted  miniatures  in  borders 
of  architectural  design  or  in  the  form  of  frames  in  gold  shaded  with  red 
against  a  background  of  shaded  red  or  dark  green.  Throughout  the 
volume  are  numerous  large  and  small  initial  letters  in  gold  on  a  ground 
of  blue  or  red,  four  of  them  being  historiated  in  camaieu  bleu  on  a  ground 
of  camaieu  bistre. 

The  subjects  of  the  miniatures  are  1.  (F.  25  r.)  The  Annunciation. 
2.  (F.  41  r.)  The  Visitation  of  Elizabeth.  3.  (F.  51  r.)  The  Descent 
of  the  Holy  Spirit.  4.  (F.  52  v.)  The  Nativity.  5.  (F.  58  v.)  The 
Announcement  to  the  Shepherds.  6.  (F.  65  v.)  The  Presentation  in 
the  Temple;  of  exquisite  softness  of  colour.  7.  (F.  70  r.)  The  Flight 
into  Egypt ;  an  original  and  charming  composition  showing  Joseph,  the 
Virgin  and  Child  afoot,  Joseph  with  a  pack  on  his  back.  8.  (F.  89  r.) 
King  David  in  prayer,  his  left  hand  raised,  his  right  resting  on  his  harp. 
9.  (F.  105  V.)  "Les  trois  vifs  et  les  trois  morts,"  one  of  the  figures 
of  Death  showing  a  youth  his  reflection  in  a  mirror. 

In  five  of  the  miniatures  are  charming  little  landscapes  suggestive  of 
the  school  of  Touraine.  All  of  the  paintings  are  highly  finished,  with 
exquisite  softness  and  harmony  of  colouring. 


HORiE  85 

HORiE   BEATiE   MARI^   VIRGINIS.     Circa  1477. 

Small  4to,  red  morocco  richly  tooled  in  pointille  panels, 
with  clasps  and  gilt  edges,  by  Le  Gascon.  In  a  modern  case 
of  green  morocco. 

A  superb  French  Book  of  Hours  written  in  large  and  small  gothic 
letters  upon  fine  vellum  about  1477  for  Anne  de  Beaujeu,  daughter  of 
Louis  XI,  by  whose  command  it  was  probably  executed,  as  he  had  caused 
one  of  a  similar  character  to  be  made  for  Marie  de  CI  eves,  Duchesse 
d'Orleans,  mother  of  Louis  XIL    147  X  108  mm. 

It  consists  of  332  leaves,  6  containing  the  Calendar,  with  10  lines  to 
the  page.  There  are  107  full-page  miniatures  surrounded  by  gold 
borders,  24  small  paintings  in  the  Calendar,  and  hundreds  of  illuminated 
initials  and  finials. 

The  subjects  of  the  large  miniatures  are  1.  (F.  7  v.)  The  Virgin  pray- 
ing in  the  Temple;  she  is  seated,  while  an  angel  kneels  beside  her;  in 
the  portico  is  a  large  number  of  other  worshippers.  This  miniature, 
which  is  circular  in  form,  is  surrounded  by  a  wreath  of  roses.  2.  (F. 
11  v.)  Christ's  Triumphal  Entry  into  Jerusalem.  3.  (F.  15  v.)  The 
Platting  of  the  Crown  of  Thorns.  4.  (F.  19  r.)  The  Crucifixion  with 
the  two  thieves ;  a  crowd  of  Roman  soldiers  surrounding  the  Cross.  5. 
(F.  22  V.)  Christ's  Descent  into  Hell.  6.  (F.  27  r.)  St.  John  the 
Evangelist  on  Patmos.  7.  (F.  29  v.)  St.  Luke  painting  the  portrait  of 
the  Virgin,  who  stands  before  him  in  the  attitude  of  prayer;  on  a  panel 
in  the  wall  of  the  room  is  painted  in  camaieu  gris  the  Annunciation.  8. 
(F.  32  V.)  St.  Matthew.  9.  (F.  35  v.)  St.  Mark.  10.  (F.  37  v.)  A 
half-length  painting  of  Christ,  crowned  with  thorns  and  bleeding; 
opposite  11.  (F.  38  r.),  as  a  pendant,  the  Virgin  contemplating  him  in  the 
attitude  of  prayer.  12-13.  (Ff .  42  v.-43  r.)  The  Annunciation,  a  double- 
paged  painting  of  a  panelled  room  containing  statues  in  niches;  behind 
the  Angel,  at  the  left,  kneels  a  young  Princess  of  about  sixteen  years, 
presumably  Anne  de  Beaujeu,  clad  in  a  red  gown  embroidered  with  gold 
and  trimmed  with  fur,  wearing  a  pointed  black  head-dress  with  a  veil, 
her  wasp-like  figure  bent  backward.  Behind  her  is  a  parted  curtain 
of  blue  embroidered  with  the  fleurs-de-lys  of  France.  On  the  verso  of 
folio  43  is  an  initial  letter  containing  the  arms  of  France.  14.  (F.  46  v.) 
God  the  Father  blessing  Adam  and  Eve  in  the  Garden  of  Eden ;  in  the 
background  a  gothic  fountain.     15.  (F.  48  v.)    Eve  offering  the  Apple 


86  HORM 

to  Adam.  16,  (F.  51  r.)  God  the  Son  seated  on  a  rainbow  in  the  midst 
of  the  Firmament.  17.  (F.  54  v.)  A  child  kneeling  in  prayer  to  God 
the  Father,  who  appears  in  the  sky,  above  a  lake.  18.  (F.  57  r.)  A  King 
(David  ?)  talking  with  a  Prophet  (Nathan  ?)  in  a  marble  hall,  at  the  end 
of  which  is  a  painting  in  grisaille  of  the  Assumption  of  the  Virgin.  19. 
(F.  61  r.)  Korah,  Dathan,  and  Abiram  (revolting  against  Moses) 
swallowed  up  in  the  earth.  20.  (F,  63  v.)  The  Transfiguration.  21. 
(F.  65  V.)  The  transportation  of  the  Ark  on  an  ox-cart  from  Kirjath- 
jearim  in  the  presence  of  David  and  the  chosen  men  of  Israel.  22.  (F. 
68  V.)  The  Death  of  Uzzah,  son  of  Abinadab,  for  having  touched  the 
Ark.  23.  (F.  71  v.)  The  Ark  borne  into  the  Tabernacle  of  Zion  at 
Jerusalem,  David  heading  the  procession  "girded  with  a  linen  ephod  and 
playing  a  harp."  24.  (F.  77  v.)  The  entire  Universe  kneeling  in 
homage  to  Christ,  who  appears  in  the  sky  in  a  blaze  of  glory.  In  the 
foreground  is  King  Louis  XI,  clad  in  a  blue  robe  covered  with  fleurs-de- 
lys;  in  the  background  are  the  towers  of  the  Chateau  de  Loches,  the 
favourite  residence  of  Anne  de  Beaujeu.  25.  (F,  81  v.)  The  Visitation 
of  Elizabeth.  26.  (F,  82  v.)  The  Prophet  Nathan  approving  David's 
purpose  to  build  a  Temple  for  the  Ark.  27.  (F.  84  v.)  God  speaking 
to  Samuel  as  he  lay  asleep  beside  the  Ark  of  the  Tabernacle.  28.  (F. 
86  V.)  David  talking  with  the  Prophet  Nathan  and  other  old  men; 
in  the  background  a  castle  on  an  island.  29.  (F.  89  v.)  Nebuchad- 
nezzar causing  Shadrach,  Meshach,  and  Abednego  to  be  cast  into  the 
fiery  furnace;  the  Angel  delivering  them.  30.  (F.  93  r.)  Devotees 
rendering  homage  to  Christ,  enthroned  on  a  rainbow  in  the  sky.  31. 
(F.  98  r.)  The  Virgin  and  the  Infant  Christ;  a  very  fine  painting, 
probably  a  portrait  of  Anne  de  Beaujeu.  32.  (F.  99  v.)  St.  John  the 
Baptist  in  the  Desert;  a  company  of  horsemen  approaching.  33.  (F. 
104  r.)  The  Nativity.  34.  (F.  105  r.)  The  Virgin  seated  at  prayer 
in  a  gallery,  the  niches  of  which  contain  statues  of  saints;  Joseph  ap- 
proaching her  in  the  background.  This  painting  is  presumably  another 
portrait  of  Anne  de  Beaujeu.  35.  (F.  106  r.)  God  demanding  the 
sacrifice  of  Isaac  by  Abraham.  36.  (F,  108  r.)  Jacob  wrestling  with 
the  Angel  beside  his  ladder.  37.  (F.  110  v.)  Four  kings  and  their 
subjects  in  prayer;  the  scene  is  an  open  country,  with  a  castle  on  an  island 
in  the  background.  38.  (F.  114  r.)  The  Announcement  to  the  Shep- 
herds. 39.  (F.  115  V.)  Esau,  garbed  as  a  hunter,  presenting  a  dish  of 
venison  to  his  father  Isaac,  who  is  in  bed.     40.  (F.  117  r.)    Rebekah 


HOR^  87 

giving  Jacob  a  dish  of  "savoury  meat"  to  present  to  Isaac,  thus  obtain- 
ing his  blessing.  41.  (F.  119  r.)  A  battle-scene;  in  the  background  a 
fortress  on  a  high  rock.  42.  (F.  123  v.)  The  Adoration  of  the  Magi. 
43.  (F.  125  r.)  A  devotee  offering  the  image  of  a  man  (his  soul  ?)  before 
the  altar.  44.  (126  v.)  Jacob  setting  the  pilled  rods  before  his  flocks 
at  the  watering- trough.  45.  (F.  128  v.)  A  bonfire  and  banquet  in  a 
street.  46.  (F.  132  v.)  The  Presentation  in  the  Temple.  47.  (F. 
134  r.)     A  procession  of  people,  apparently  on  their  way  to  market. 

48.  (F.  135  V.)     Nathan  rebuking  David  for  his  sin  against  Uriah. 

49,  (F.  137  r.)  Street  dances  in  a  public  square.  50.  (F.  141  r.)  The 
Flight  into  Egypt.  51.  (F.  142  r.)  Christ  seated  at  the  right  hand  of 
God  the  Father.  52.  (F.  144  r.)  King  David  addressing  children  at 
the  entrance  to  his  palace,  —  "Laudate  pueri  Dominum."  53.  (F. 
146  r.)  A  procession  arriving  at  the  doors  of  a  gothic  cathedral.  54. 
(F.  148  r.)  The  building  of  Solomon's  Temple.  55.  (F.  149  v.)  King 
David  leading  children  in  song.  56.  (F.  152  r.)  The  Virgin  and  Child 
in  celestial  glory,  surrounded  by  angels.  57.  (F.  157  v.)  The  Death  of 
the  Virgin;  God  the  Father  appearing  in  glory,  holding  in  His  arms  the 
soul  of  the  Virgin,  in  the  form  of  a  httle  girl.  58.  (F.  158  v.)  The 
Virgin  receiving  a  palm  from  the  hands  of  an  angel.  59.  (F.  160  v.) 
The  Entombment  of  the  Virgin.  60.  (F.  162  v.)  The  Assumption  of 
the  Virgin.  61.  (F.  165  r.)  The  Virgin  enthroned  with  Christ.  62.  (F. 
186  r.)  The  Agony  in  the  Garden.  63.  (F.  188  r.)  Christ  before  Pilate. 
64.  (F.  190  r.)  Christ  blindfolded  and  buffeted.  65.  (F.  192  r.)  The 
Bearing  of  the  Cross.  66.  (F,  194  r.)  The  Crucifixion;  a  different 
scene  from  miniature  No.  4,  with  fewer  soldiers.  The  centurion  holds 
a  shield  on  which  are  the  initials  "P.  R."  in  gold  on  a  red  ground.  67. 
(F.  196  r.)  The  Descent  from  the  Cross.  68.  (F.  198  r.)  The  Anoint- 
ing of  Christ  preparatory  to  the  Entombment.  69.  (F.  200  r.)  The 
Resurrection.  70.  (F.  202  v.)  The  Ascension.  71.  (F.  204  r.)  The 
Descent  of  the  Holy  Spirit.  72.  (F.  205  v.)  The  Virgin  and  holy 
women  taking  leave  of  the  Apostles.  73.  (F.  207  r.)  Peter  baptizing 
the  five  thousand  converts.  74.  (F.  208  r.)  Ananias  and  Sapphira 
before  Peter.  75.  (F.  209  v.)  The  Death  of  Ananias.  76.  (F.  211  r.) 
David  and  Bathsheba.  77.  (F.  213  v.)  Ahasuerus  receiving  Esther 
as  queen;  the  walls  of  the  apartment  covered  with  blue  hangings  con- 
taining in  gold  the  letters  "A  H.  V."  78.  (F.  216  v.)  Uriah  receiving 
the  message  from  King  David.    79.  (F.  221  r.)  The  Departure  of  Uriah 


88  HOR^ 

and  his  warriors.  80.  (F.  225  r.)  The  Death  of  Uriah.  81.  (F.  230  v.) 
King  David  prostrate  before  the  Prophet  Nathan  in  repentance  of  his 
sin  against  Uriah.  82.  (F.  232  v.)  King  David  praying  in  the  moun- 
tains; in  the  sky  an  angel  bearing  a  sword.  83.  (F.  236  r.)  The 
Virgin  and  Christ  enthroned  and  adored  by  saints.  84.  (F.  245  r.) 
Death  holding  an  arrow  and  issuing  from  a  tomb.  85.  (F.  247  r.)  Saul 
seeking  David  in  the  Cave  of  Adullam.  86.  (F.  249  r.)  Jacob's  Lad- 
der. 87.  (F.  250  V.)  The  Punishments  of  Purgatory  and  Hell.  88. 
(F.  252  V.)  A  Princess,  presumably  Anne  de  Beaujeu,  going  to  mass, 
attended  by  her  ladies-in-waiting.  89.  (F.  255  r.)  A  Funeral  Proces- 
sion entering  a  church.  90.  (F.  257  r.)  A  dying  man  attended  by  three 
monks.  91.  (F.  261  v.)  A  Burial  Service  in  the  choir  of  a  church. 
92.  (F.  264  r.)  David  and  his  warriors  entering  the  camp  of  King 
Saul,  who  is  asleep  in  his  tent.  93.  (F.  267  r.)  King  David  praying 
to  God,  who  appears  in  the  sky.  94.  (F.  269  v.)  King  David,  armed 
as  a  warrior,  praying  in  an  open  field;  beside  him  is  a  lion.  95.  (F. 
277  r.)  Dives,  the  rich  glutton,  and  Lazarus  lying  at  his  door.  96. 
(F.  279  r.)  The  Death  of  Dives  and  Lazarus.  97.  (F.  283  r.)  Samuel 
anointing  Saul  king.  98.  (F.  290  v.)  The  Parable  of  the  good  Samari- 
tan: the  four  thieves  attacking  the  man  are  dressed  as  warriors.  99. 
(F.  295  r.)  Paul  (?)  preaching  to  converts.  100.  (F.  298  r.)  The 
Parable  of  the  good  Samaritan  concluded:  the  Samaritan  taking  the 
victim  on  an  ass  to  an  inn.  101.  (F.  307  r.)  King  David,  dressed  as  a 
warrior,  praying  to  God;  in  the  foreground  is  the  abyss  of  Hell  with 
its  victims,  illustrating  the  allusion  in  the  text  "Libera  me  Domine 
de  viis  inferni."  102.  (F.  311  r.)  Elijah  ascending  to  Heaven  in  a 
Chariot  of  Fire,  Elisha  kneeling  on  the  ground ;  both  clad  in  the  garb 
of  monks.  103.  (F.  314  r.)  King  David  (?)  and  the  Prophet  Nathan 
(  ?).  104.  (F.  317  v.)  An  angel  ministering  to  a  prophet  ( ?)  recumbent 
on  the  ground.  105.  (F.  321  r.)  The  Celebration  of  Mass  in  the  choir 
of  a  church.  106.  (F.  32  r.)  The  Martyrdom  of  St.  John  the  Baptist; 
Salome  standing  ready  to  receive  his  head,  Herod  and  Herodias  at  table 
in  the  background.  107.  (F.  329  r.)  The  Torments  of  Purgatory  and 
Hell. 

The  24  small  miniatures  in  the  Calendar,  depicting  scenes  appropriate 
to  the  months  and  the  signs  of  the  zodiac,  are  at  the  bottom  of  the  pages, 
and  nearly  square.  The  latter  are  painted  in  cama'ieu  bleu  heightened 
with  gold. 


HOR^:  89 

The  miniatures  in  this  manuscript  were  painted  by  several  artists  of 
the  school  of  Touraine,  the  finest  being  undoubtedly  the  work  of 
Jehan  Foucquet,  who,  in  1477,  the  probable  date  of  execution  of  the 
volume,  was  about  sixty  years  of  age.  The  composition  of  the  paint- 
ings, the  richness  and  elaboration  of  architectural  detail,  the  predilection 
for  blue  in  the  colouring  of  the  costumes,  and  the  lavish  use  of  gold, 
especially  in  armour,  are  all  characteristic  of  Foucquet.  Moreover,  the 
face  of  St.  Luke  (folio  29  v.)  resembles  the  enamel  portrait  of  him  in 
the  Louvre. 

There  are  several  indications  that  the  manuscript  was  intended  for 
Anne  de  Beaujeu;  her  portrait  appears  several  times,  both  in  her  own 
person  and  as  the  Virgin  Mary  (folios  7,  42,  98,  105,  253),  and  in  several 
landscapes  is  a  representation  of  her  favourite  residence,  the  Chateau 
de  Loches  (folios  77,  108,  126,  144,  and  211).  The  figure  of  David  in 
armour  (folios  269  and  307),  with  blond  hair  and  beard,  appears  to  be 
the  portrait  of  Pierre  de  Beaujeu,  her  husband. 

The  variety  of  subjects  in  this  manuscript,  including  secular  and 
Biblical  scenes  from  both  the  Old  and  the  New  Testament,  make  it  one 
of  the  most  interesting  in  the  present  collection.  It  was  formerly  in  the 
collection  of  Ambroise  Firmin-Didot. 

HORyE  BEATvE   MARI^  VIRGINIS.    S^c.  XV. 

Small  4to,  old  green  Renaissance  velvet  over  oak  boards, 
gauffred  gilt  edges.    In  a  modem  case  of  brown  morocco. 

A  beautiful  French  Book  of  Hours  written  in  gothic  characters  upon 
fine  vellum  at  the  end  of  the  fifteenth  century.    171  X  118  mm. 

There  are  118  leaves,  including  6  for  the  Calendar,  with  21  lines  to 
the  page;  also  12  large  and  29  small  miniatures,  including  24  in  the 
Calendar.  The  borders,  painted  in  delicate  colours  and  gold,  are  com- 
posed of  foliage,  scrolls,  birds,  and  insects,  and  are  remarkable  for  their 
exquisite  finish  and  arrangement.  In  the  Calendar  they  are  trilateral, 
having  small  miniatures  on  the  outer  margins  and  at  the  bottom  of  the 
pages.  They  extend  only  across  the  bottom  of  pages  containing  large 
miniatures,  and  along  the  side  of  pages  of  text,  the  design  being  the  same 
on  the  recto  and  the  verso  of  the  leaves.  Folios  7-10,  containing  small 
miniatures,  have  trilateral  borders  of  a  different  design,  but  of  equally 
fine  technique:  flowers,  scrolls,  etc.,  in  brilliant  colours  in  compartments 
on  a  gold  or  white  ground. 


90  HORiE 

The  subjects  of  the  large  miniatures  are  1.  (F.  15  r.)  The  Annuncia- 
tion. 2.  (F.  23  r.)  The  Visitation  of  EHzabeth.  3.  (F.  32  r.)  The 
Crucifixion.  4.  (F.  38  v.)  The  Descent  of  the  Holy  Spirit.  5.  (F. 
34  V.)  The  Nativity.  6.  (F.  41  r.)  The  Announcement  to  the  Shep- 
herds. 7.  (F.  46  r.)  The  Adoration  of  the  Magi.  8.  (F.  50  v.)  The 
Presentation  in  the  Temple.  9.  (F.  55  v.)  King  Herod  before  a  mother 
who  has  lost  her  child  in  the  Massacre  of  the  Innocents,  —  an  unusual 
subject  depicted  with  wonderful  facial  expression.  10.  (F.  61  v.)  The 
Coronation  of  the  Virgin.  11.  (F.  67  r.)  King  David  watching  Bath- 
sheba.    12.  (F.  80  r.)    Job  and  his  three  Comforters. 

The  24  small  miniatures  in  the  Calendar  represent  the  zodiacal  signs 
and  scenes  appropriate  to  the  months,  the  remaining  5  depict  the  four 
Evangelists  and  the  Virgin  and  Child. 

Two  artists  evidently  illuminated  this  manuscript,  the  more  skilful 
having  painted  the  large  miniatures,  which  are  remarkable  for  breadth 
and  boldness  of  treatment.  The  facial  expression  is  especially  interest- 
ing, the  perspective  is  good,  and  the  colouring  brilliant,  gold  being 
used  in  profusion. 

HOR^  BEAT^  MARINE  VIRGINIS.    S^c.   XV. 

[Recto  of  folio  36]  Hore  intemerate  Virginis  marie  fecundum 
vfum  Romane  curie.  [Colophon]  Horas  prefentes  fecit  facere 
litteratiffimus  vir  magifter  francifcus  d'  mello  pro  forore  fua 
domina  maria  Manuel.  Svo,  old  Italian  red  morocco,  back 
and  sides  covered  with  elaborate  tooling  in  panels,  fan-shaped 
ornaments  in  the  comers  and  centre,  the  intervals  filled  with 
angels'  heads,  cocks,  fleurs-de-lys,  insects,  and  foliage,  gilt 
edges.  Interleaved  with  green  silk  and  in  an  old  green 
morocco  case  tooled  in  fan-shaped  ornaments. 

An  exquisite  French  Book  of  Hours  written  in  large  and  small  roman 
characters  in  black,  red,  blue,  and  burnished  gold  upon  vellum  in  the 
latter  part  of  the  fifteenth  century  for  Domina  Maria  Manuel.  201  X  134 
mm. 

There  are  188  leaves,  12  being  for  the  Calendar,  with  20  lines  to  the 
page.  It  contains  25  large  and  oQ  small  miniatures,  including  24  of 
unusually  large  size  in  the  Calendar. 


HOR^  91 

The  borders,  which  surround  every  page,  are  remarkable  for  their 
variety  of  design,  richness  of  colour,  and  perfection  of  finish.  They  are 
composed  of  flowers,  foUage,  fruit,  grotesques,  chimeras,  vases,  scrolls, 
columns,  birds,  and  snails,  in  brilliant  colours  on  a  ground  of  gold, 
brown,  blue,  red,  or  grey  studded  with  dots  of  red,  brown,  or  gold,  geo- 
metrical compartments  of  gold  being  frequent.  In  eleven  of  the  borders 
are  the  initials  "F.  M.,"  of  Francisco  de  Mello,  who,  according  to  the 
colophon,  caused  the  manuscript  to  be  executed  for  his  sister.  On  folios 
60  and  134  recto  and  90  verso  are  the  initials  "A.  S."  On  the  last  page  are 
the  illuminated  arms  of  the  owner. 

The  large  miniatures  are  surrounded  by  shaded  gold  borders  of  archi- 
tectural design;  their  subjects  are  1.  (F.  13  r.)  The  Virgin  instructing 
the  young  Jesus  from  a  book.  He  standing  beside  her,  a  detailed  land- 
scape in  the  background.  2.  (F.  26  r.)  The  Betrayal.  3.  (F.  36  v.) 
Christ  before  Pilate.  4.  (F.  37  r.)  The  Annunciation.  5.  (F.  51  v.) 
The  Scourging.  6.  (F.  52  r.)  The  Visitation  of  Elizabeth;  Joseph 
accompanying  Mary.  7.  (F.  61  v.)  The  Platting  of  the  Crown  of 
Thorns.  8.  (F.  62  r.)  The  Nativity.  9.  (F.  65  v.)  Pilate  washing 
his  hands  of  Christ.  10.  (F.  66  r.)  The  Announcement  to  the  Shep- 
herds. 11.  (F.  69  V.)  Christ  bearing  the  Cross.  12.  (F.  70  r.)  The 
Adoration  of  the  Magi.  13.  (F.  73  v.)  The  Crucifixion.  14.  (F.  74  r.) 
The  Presentation  in  the  Temple.  15.  (F.  77  v.)  The  Descent  from  the 
Cross.  16.  (F.  78  r.)  The  Flight  into  Egypt;  Mary  and  the  Child  on  a 
grey  palfrey  with  black  and  gold  trappings,  two  angels  following  them, 
a  beautifully  painted  landscape  in  the  background.  17.  (F.  84  v.)  The 
Entombment;  rocks  and  a  castle  in  the  background ;  the  expression  of 
sorrow  on  the  faces  is  especially  remarkable.  18.  (F.  85  r.)  The  Assump- 
tion of  the  Virgin.  19.  (F.  91  v.)  The  Virgin  surrounded  by  her  attri- 
butes, God  the  Father  at  the  top  of  the  painting.  20.  (F.  100  v.)  The 
Meeting  of  Joachim  and  Anna.  21.  (F.  106  r.)  The  Resurrection, 
including  all  the  symbols  of  the  Passion.  22.  (F.  110  r.)  The  Holy  Grail, 
supported  by  two  Angels.  23.  (F.  118  v.)  The  Descent  of  the  Holy 
Spirit.  24.  (123  r.)  David  praying,  an  Angel  in  the  sky  bearing  a  sword 
and  a  skull.  25.  (F.  140  r.)  The  Raising  of  Lazarus.  Nos.  2,  3,  5,  7,  9, 
11,  13,  15,  17,  and  25  are  in  camaieu  gris  heightened  with  gold. 

Besides  the  24  miniatures  at  the  top  of  the  12  leaves  in  the  Calendar, 
32  small  paintings  are  scattered  throughout  the  text,  chiefly  beginning 


92  UORM 

with  folio  171  verso.  They  include  St.  Roch,  St.  John  the  Evangelist 
on  Patmos,  St.  Luke,  St.  Matthew,  St.  Mark,  St.  Veronica.  St.  Bernard, 
St.  Gregory,  St.  Michael,  Sts.  Peter  and  Paul,  St.  Laurence,  St.  Sebas- 
tian, St.  Stephen,  St.  George,  St.  Christopher,  St.  Ambrosius,  St. 
Jerome,  St.  Augustine,  St.  Francis  of  Assisi,  St.  Anthony  of  Padua, 
St.  Dominick,  St.  Benedict,  St.  Catherine,  St.  Lucia,  St.  Barbara,  St. 
Agatha,  St.  Apollonia,  St.  Mary  Magdalene,  St.  Ursula,  St.  Genevieve, 
St.  Anna. 

The  miniatures  in  this  elaborate  manuscript  were  evidently  painted 
by  two  different  artists,  as  the  large  ones  are  superior  in  execution  to  the 
others.  The  colouring  is  brilliant,  gold  being  freely  used.  The  number 
of  Italian  saints  mentioned  in  the  text  indicates  that  it  was  intended 
for  use  in  Italy. 

HORiE  BEATiE  MARINE  VIRGINIS.    S^c.  XV. 
4itOy  original  vellum  covers. 

A  beautifully  written  French  Book  of  Hours  executed  in  gothic  char- 
acters upon  vellum  in  the  latter  part  of  the  fifteenth  century.  168  X  118 
mm. 

There  are  177  leaves,  including  11  for  the  Calendar,  the  first  folio  of 
which  is  lacking,  and  16  lines  to  the  page.  It  contains  26  small  minia- 
tures painted  with  great  delicacy  of  execution,  each  surrounded  by  a 
rich  border  of  flowers,  fruit,  insects,  and  foliage  in  camaieu  gris  and  d^or 
on  a  ground  of  dull  gold,  grey,  or  delicate  green.  Besides  these  26 
borders  there  are  13  more  of  a  similar  character  on  pages  containing 
historiated  initials,  in  camaieu  gris  and  d'or  on  a  dull  gold  or  coloured 
ground. 

The  subjects  of  the  miniatures,  which  measure  29-36  X  23-34  mm., 
are  1.  (F.  12  r.)  The  Pieta.  2.  (F.  13  v.)  The  Virgin  and  Child  stand- 
ing. 3.  (F.  17  V.)  The  Virgin  and  Child  seated.  4.  (F.  20  r.)  The 
Trinity,  a  curious  design  of  three  golden  points  in  a  grey  vapour  out- 
lined with  rose.  5.  (F.  21  r.)  St.  John  the  Baptist.  6.  (F.  22  r.)  Christ's 
face  outlined  by  angel's  heads,  painted  in  gold  on  a  dull  red  ground. 
7.  (F.  23  r.)  St.  Michael.  8.  (F.  23  v.)  St.  Nicholas.  9.  (F.  24  r.)  St. 
Francis  of  Assisi.  10.  (F.  25  r.)  St.  Anthony  of  Padua.  11.  (F.  25  v.) 
St.  John  the  Evangelist  with  the  ciborium.  12.  (F.  26  r.)  St.  Sebastian. 
13.  (F.  27  r.)  St.  Jerome.    14.  (F.  28  r.)  St.  Anna  and  the  Virgin  Mary 


HORiE  93 

with  the  Child.  15.  (F.  29  r.)  St.  Catherine.  16.  (F.  29  v.)  St.  Agnes. 
17.  (F.  30  V.)  St.  Apollonia.  18.  (F.  31  r.)  St.  Elizabeth  of  Hungary. 
19.  (F.  32  r.)  St.  Barbara.  20.  (F.  33  r.)  St.  Mary  Magdalene.  21. 
(F.  34  r.)  St.  Margaret.  22.  (F.  34  v.)  St.  Leonard.  23.  (F.  49  r.)  St. 
John  the  Evangelist  on  Patmos.  24.  (F.  51  r.)  St.  Luke.  25.  (F.  53  r.) 
St.  Matthew.    26.  (F.  55  r.)  St.  Mark. 

This  manuscript  is  remarkable  for  the  variety  of  flowers  in  its  borders 
and  for  the  delicacy  of  colouring  and  composition  in  all  of  the  illumina- 
tions. The  landscapes  in  the  miniatures  are  painted  in  camaieu  gris 
and  the  background  is  chiefly  rose  or  red  ornamented  with  gold  flowers. 

HOR^   BEAT^   MARI^   VIRGINIS.     1484-1486. 

Small  UOy  red  velvet  over  old  oak  boards,  vellum  linings, 
gilt  edges. 

A  very  beautiful  French  Book  of  Hours  written  in  gothic  letters  upon 
the  finest  vellum  in  the  latter  part  of  the  fifteenth  century  for  Katherine 
d'Armagnac,  second  wife  (1484-86)  of  Jean  II,  due  de  Bourbon  et  d'Au- 
vergne,  called  "the  Good,"  and  also  "the  Scourge  of  the  English." 
163  X  116  mm. 

There  are  144  leaves,  including  6  for  the  Calendar,  folios  12  and  21 
being  blank,  with  21  lines  to  the  page.  It  contains  13  large  miniatures 
and  24  small  ones  in  the  Calendar,  2  on  each  page,  representing  scenes 
appropriate  to  the  months  and  the  signs  of  the  zodiac,  and  forming  a 
side  border  78  mm.  in  height,  with  a  dividing  compartment  of  flowers  in 
colours  on  a  gold  ground.  There  are  135  other  lateral  borders  of  flowers 
and  scrolls  in  gold  and  colours,  blue  predominating,  introducing  birds, 
animals,  insects,  human  figures,  and  chimeras.  When  borders  occur  on 
the  recto  and  verso  of  a  leaf,  they  are  of  the  same  design,  but  reversed, 
so  that  when  held  to  the  light,  the  effect  is  of  one  border  intensified  in 
colour.  This  characteristic  is  rather  unusual.  Around  the  large  minia- 
tures are  similar  borders,  introducing  flower-pots,  trunks  of  trees,  blank 
escutcheons  (folios  41  v.,  62  v.,  and  77  r.),  and,  on  nine  leaves,  the  inter- 
twined initials  "I"  and  "K,"  for  Jean  and  Katherine.  On  folio  59  recto 
is  an  unusual  trellis  and  grape-vine  border,  which  is  repeated  in  the  side 
border  on  the  verso  of  the  leaf.  At  the  bottom  of  folio  27  recto  are 
painted  a  stag  and  a  hind,  the  emblems  of  the  house  of  Bourbon. 


94  HOR^ 

The  subjects  of  the  13  exquisite  large  miniatures,  which  measure 
73  X  49  mm.,  and  are  oval  at  the  top,  are  1,  (F.  27  r.)  The  Annuncia- 
tion, with  rich  architectural  detail.  2.  (F.  41  v.)  The  Visitation  of  Eliza- 
beth, two  wooden  houses  with  the  gables  and  round  chimneys  of 
Touraine  and  a  charming  landscape,  in  perfect  perspective,  in  the  back- 
ground. 3.  (F.  51  r.)  The  Nativity,  painted  in  blue,  brown,  and  camaieu 
(Tar,  a  night-scene,  showing  the  stars  through  the  dilapidated  roof. 
4.  (F.  55  r.)  The  Announcement  to  the  Shepherds,  another  marvellously 
painted  night-scene,  the  angel  in  gold  heightened  with  red  against  a  blue, 
starry  sky.  5.  (F.  59  r.)  The  Adoration  of  the  Magi,  the  setting  sun  in 
the  background.  6.  (F.  62  v.)  The  Presentation  in  the  Temple.  7. 
(F.  66  r.)  The  Flight  into  Egypt,  an  exquisite  landscape  in  the  distance. 
8.  (F.  72  r.)  The  Coronation  of  the  Virgin.  9.  (F.  77  r.)  The  Crucifixion. 
10.  (F.  80  r.)  The  Descent  of  the  Holy  Spirit.  11.  (F.  83  r.)  The  Last 
Judgment,  Christ  seated  on  a  rainbow.  His  feet  on  a  smaller  one,  angels 
holding  the  symbols  of  the  Passion  above,  the  elect  and  the  damned 
below.  12.  (F.  96  r.)  Job  and  his  three  Comforters,  his  wife  in  the  back- 
ground, a  landscape  in  the  distance.  13.  (F.  143  r.)  The  Virgin,  crowned 
as  a  Queen  and  attended  by  angels,  administering  the  sacrament  to  St. 
Avoie  (A via)  through  the  barred  window  of  a  prison,  —  perhaps  a  unique 
representation  of  this  saint. 

The  large  miniatures,  painted  by  a  different  artist  from  the  one  who 
executed  the  small  ones,  are  worthy  of  a  Foucquet.  They  belong  to  the 
school  of  Touraine,  and,  in  colouring,  composition,  delicacy  of  finish, 
and  perspective,  exemplify  the  perfection  of  fifteenth  century  art. 

In  the  Calendar,  which  is  written  in  small  characters  in  black,  blue, 
and  red,  in  Latin,  occur  the  names  of  five  Bishops  of  Mans :  St.  Aldric 
(Jan.  7),  St.  Julien,  the  first  Bishop  (Jan.  27),  St.  Tiburce  (April  16),  St. 
Liboire  (June  9),  and  St.  Pavace  (July  24);  and  of  three  Bishops  of 
Angers:  St.  Aubin  (March  1),  St.  Maurille  (Sept.  13),  and  St.  Rene 
(Nov.  12).  As  each  one  of  these  names  is  followed  by  that  of  the  epis- 
copal see  occupied  by  the  bishop,  it  is  probable  that  the  manuscript  was 
executed  in  Maine  or  in  Anjou. 

The  face  of  the  Virgin  (folios  27,  41,  51,  59),  always  the  same,  appears 
to  have  been  drawn  from  life  and  not  from  the  imagination.  It  may  be 
the  portrait  of  the  Duchesse  de  Bourbon. 

The  text  of  this  Book  of  Hours  is  rather  exceptional  in  that  it  con- 
tains a  number  of  French  prayers  in  verse,  e.  g.,  one  to  St.  Catherine 


HOR^  95 

(folio  22),  seventy-one  lines  beginning  "Mon  ame  et  mon  corps  te  pre- 
sente";  two  to  St.  Avoie,  in  French  and  Latin;  two  prose  prayers  to 
Christ  (foHos  135-138),  one  of  which  proves  again  that  the  manuscript 
was  executed  for  a  woman,  "Beau  Sires  Dieux  soyez  debonnaire  a  moy 
pecheresse" ;  a  prayer  to  the  Virgin  (foHos  138-139)  composed  of  fifty- 
six  verses  beginning,  "Doulce  Vierge  Marie";  and  another  prose 
prayer  (foHos  139-142). 

At  the  foot  of  the  first  page  of  the  Calendar  is  the  partially  erased 
signature  "Pierre  Vischer  a  Basle,  1793." 

From  the  collection  of  Ambroise  Firmin-Didot. 

HORiE   BEAT^   MARINE  VIRGINIS.     S^c.  XV. 

4/0,  old  red  morocco  tooled  in  fillets,  the  arms  of  PhilippCy 
Comte  de  Bethune  (d.  1649),  on  both  covers y  his  interlaced 
initials  "P.  P.,"  crowned ^  with  "s  ferme"  in  the  comers  of 
the  sides  and  the  crowned  initials  on  the  back,  gilt  edges.  In 
a  wrapper  of  dark  red  striped  silk  and  satin. 

A  French  Book  of  Hours  written  in  gothic  letters  upon  vellum  for 
Louis  de  Bruges,  seigneur  de  la  Gruthuyse  (1422-92),  whose  initials 
"L.  B."  occur  in  twenty-four  borders  in  blue  on  a  gold  ground.  175  X 
120  mm. 

There  are  143  leaves,  6  being  for  the  Calendar,  with  22  lines  to  the 
page.  It  contains  13  full-page  and  44  small  miniatures,  including  12  in 
the  Calendar,  and  numerous  floriated  initials. 

All  of  the  pages  of  text  except  the  last  two  have  side  borders  of  flowers, 
foliage,  scrolls,  fruit,  insects,  grotesques,  and  chimeras,  in  brilliant 
colours  and  gold,  arranged  in  compartments.  The  large  miniatures 
are  in  architectural  borders  of  dull  gold  and  red.  Their  subjects  are 
1.  (F.  7  r.)  St.  John  the  Evangelist  on  Patmos.  2.  (F.  11  v.)  The 
Virgin  and  Child  enthroned,  on  each  side  an  angel  playing  a  musical 
instrument.  3.  (F.  17  r.)  The  Annunciation;  a  dove  resting  upon  the 
Virgin's  head.  4.  (F.  31  r.)  The  Visitation.  5.  (F.  43  r.)  The  An- 
nouncement to  the  Shepherds.  6.  (F.  46  v.)  The  Adoration  of  the 
Magi,  one  of  whom  is  black.  7.  (F.  50  r.)  The  Presentation  in  the 
Temple.  8.  (F.  53  r.)  The  Flight.  9.  (F.  58  v.)  The  Assumj)tion  of 
the  Virgin,  who  stands  upon  a  crescent  supported  by  two  angels.  10. 
(F.  73  r.)  The  Descent  of  the  Holy  Spirit.     11.  (F.''76  r.)  David  and 


96  HOR^ 

Bathsheba.  12.  (F.  89  r.)  Job  and  his  Comforters.  13.  (F.  124  v.) 
St.  Christopher. 

The  12  small  miniatures  in  the  Calendar  are  at  the  top  of  the  pages, 
and  represent  scenes  appropriate  to  the  months,  a  sign  of  the  zodiac 
being  in  the  sky  of  each  painting,  —  an  unusual  occurrence.  The  re- 
maining 32  miniatures  are  scattered  throughout  the  text,  chiefly  between 
folios  120  and  140.  The  subjects  are  St.  Luke,  St.  Matthew,  St.  Mark, 
the  Pieta,  Christ  crowned  with  thorns  and  bound,  St.  Bernard,  St. 
Michael,  St.  John  the  Evangelist,  Sts.  Peter  and  Paul,  St.  James  the 
Major,  St.  Bartholomew,  St.  Stephen,  St.  Laurence,  St.  Sebastian,  St. 
Ives  of  Bretagne,  St.  Nicholas,  St.  Claudius,  St.  Anthony  of  Padua, 
10,000  Martyrs,  St.  Leonard,  St.  Anna  and  the  Virgin  Mary,  St.  Mary 
Magdalene,  St.  Catherine,  St.  Margaret,  St.  Barbara,  St.  Apollonia, 
St.  Avia,  St.  Genevieve,  the  11,000  Virgins,  St.  Gregory,  the  Virgin  and 
Child,  and  God  the  Father. 

The  paintings  are  interesting  because  of  their  quaintness  of  composi- 
tion and  freshness  of  colour. 

The  Calendar  and  some  of  the  rubrics  are  in  French,  including  the 
Indulgence  of  Pope  Boniface  on  folio  142  verso. 

HOR^  BEATiE   MARI^  VIRGINIS.     S^c.  XV. 

Small  8vOf  old  French  brown  morocco^  gilt  hack,  gilt  edges. 
In  its  original  case  of  mottled  calf. 

A  beautiful  little  Norman  French  Book  of  Hours  written  in  gothic 
letters  upon  the  finest  abortive  vellum  at  the  end  of  the  fifteenth  cen- 
tury.    85  X  63  mm. 

It  consists  of  249  leaves,  of  which  12  contain  the  Calendar,  with  13 
lines  to  the  page.  There  are  11  large  and  6  small  miniatures,  also  44 
borders,  including  12  with  paintings  on  the  rectos  of  the  folios  of  the 
Calendar.  These  represent  scenes  appropriate  to  the  months  with 
the  signs  of  the  zodiac  in  the  sky.  The  large  miniatures  and  the  pages 
opposite  are  surrounded  by  borders  of  brilliant  flowers,  birds,  and  in- 
sects, on  a  dull  gold  ground  or  of  architectural  design.  The  small 
miniatures  have  trilateral  borders.  There  are  numerous  large  and 
small  initial  letters  painted  in  camaieu  gris  and  (Tor  on  a  coloured  ground. 

The  subjects  of  the  large  miniatures  are  1.  (F.  15  v.)  The  Crucifixion. 
2.  (F.  25  V.)  The  Descent  of  the  Holy  Spirit.    3.  (F.  75  v.)  The  Visita- 


HOR^  97 

tion  of  Elizabeth.  4.  (F.  91  v.)  The  Nativity,  a  curious  composition 
showing  the  Virgin  within  the  manger  and  Joseph  outside  of  the  door. 
5.  (F.  98  V.)  The  Announcement  to  the  Shepherds.  6.  (F.  105  v.) 
The  Adoration  of  the  Magi,  one  of  whom  is  black ;  the  scene  is  the  same 
as  in  No.  4.  7.  (F.  112  v.)  The  Presentation  in  the  Temple.  8.  (F. 
119  V.)  The  Massacre  of  the  Innocents;  a  Norman  castle  in  the  back- 
ground. 9.  (F.  130  V.)  The  Flight  into  Egypt.  10.  (F.  160  v.)  David 
praying;  a  Norman  castle  with  a  moat  and  drawbridge  in  the  back- 
ground; the  borders  on  this  and  the  opposite  page  are  of  architectural 
design  in  camaieu  d'or  and  colours,  jewels  being  introduced  as  orna- 
ments. 11.  (F.  188  V.)  A  curious  death-scene  preceding  "Vigilie  mor- 
tuorum";  a  nude  corpse  on  the  ground  surrounded  by  wild  animals; 
in  the  background  a  representation  of  the  Trinity,  —  God  the  Father 
in  the  sky,  the  Infant  Christ  and  the  Holy  Spirit  kneeling. 

The  6  small  miniatures,  which  measure  about  20  X  20  mm.,  depict 
St.  John  the  Evangelist  in  Patmos,  St.  Luke,  St.  Matthew,  St.  Mark, 
the  Pieta  (f.  150),  painted  in  camaieu  (Tor  on  a  blue  ground,  and  the 
Virgin  Mary  with  another  saint  (f.  155  v.),  painted  in  camaieM  d'or  on 
a  green  ground. 

All  of  the  illuminations  are  finely  executed  and  of  extreme  delicacy. 

HOR.E  BEAT^  MARIiE  VIRGINIS.     S^c.  XV. 

12mo,  green  morocco,  side  panels  and  back  delicately  tooled 
in  scrolls,  flowers,  dots,  and  other  small  ornaments,  lined  with 
rose  moire  silk,  gilt  edges,  by  Derome  the  younger,  with  his 
ticket.    In  a  modern  case  of  brown  levant  morocco. 

An  exquisite  French  Book  of  Hours  written  in  gothic  characters  upon 
fine  vellum  in  the  latter  part  of  the  fifteenth  century.    150  X  106  mm. 

There  are  165  leaves  (folios  75,  108,  138,  and  163-165  blank  except 
for  the  side  borders),  including  12  for  the  Calendar,  with  16  lines  to  the 
page.  It  contains  37  large  and  6  small  miniatures,  also  19  borders  with 
35  small  paintings.  All  of  the  pages  of  text  have  lateral  borders  of 
flowers  and  scrolls  in  colours  on  a  dull  gold  ground,  and  beginning  with 
folio  139,  each  large  miniature  has  a  similar  border.  There  are  also 
numerous  initial  letters  in  red,  blue,  and  gold. 

Directly  following  the  Calendar,  on  folio  13  recto,  are  5  small  minia- 
tures, of  the  four  Evangelists  and  the  Martydom  of  St.  Hippolytas. 

7 


98  UORM 

At  the  foot  of  folio  17  verso  is  a  curious  spherical  miniature  of  Christ 
with  raised  hands  showing  the  stigmata,  painted  in  white  with  pale  red 
dots,  and  surrounded  by  a  dull  gold  border. 

The  subjects  of  the  large  miniatures  are  1.  (F.  18)  The  Annuncia- 
tion, the  border  containing  7  small  miniatures,  one  of  which  represents 
the  marriage  of  the  Virgin  and  Joseph.  2.  (F.  34)  The  Visitation  of 
Elizabeth,  the  border  containing  4  small  miniatures  representing  John 
the  Baptist  preaching  and  scenes  relating  to  the  birth  of  Christ.  3. 
(F.  44)  The  Nativity;  the  border  in  three  compartments,  one  of  which 
is  the  Announcement  to  the  Shepherds.  4.  (F.  48)  The  Announcement 
to  the  Shepherds,  one  of  whom  is  a  woman.  5.  (F.  51)  The  Adoration 
of  the  Magi ;  in  the  border  their  journey  to  Bethlehem.  6.  (F.  54)  The 
Presentation  in  the  Temple,  Joseph  bearing  a  basket  containing  three 
turtle-doves;  3  small  miniatures  in  the  margin,  one  depicting  the  Cir- 
cumcision. 7.  (F.  57)  The  Flight  into  Egypt;  in  the  margin  the  Massa- 
cre of  the  Innocents.  8.  (F.  62)  The  Coronation  of  the  Virgin ;  3  minia- 
tures in  the  margin  relating  to  her  death.  9.  (F.  76)  The  Crucifixion; 
St.  Veronica  in  the  margin.  10.  (F.  80)  The  Descent  of  the  Holy 
Spirit;  in  the  margin  the  Ascension  and  Christ's  meeting  with  the  two 
Disciples  at  Emmaus.  Following  are  allegorical  figures  of  the  Seven 
Cardinal  Sins,  with  smaller  miniatures  beneath  them  illustrative  of 
each  vice,  and  five  of  them  accompanied  by  a  particular  devil.  11. 
(F.  84)  Pride.  12.  (F.  86)  Envy.  13.  (F.  88)  Wrath.  14.  (F.  91) 
Avarice.  15.  (F.  94)  Gluttony.  16.  (F.  97)  Sloth.  17.  (F.  98)  Lust. 
18.  (F.  109)  The  Last  Judgment;  in  the  margin  devils  drawing  a 
carload  of  victims  into  Hell.  19.  (F.  114)  Job  and  his  Comforters;  in 
the  margin  the  Raising  of  Lazarus.  20.  (F.  139)  Three  Angels  adoring 
the  Virgin  and  Infant  Christ.  21.  (F.  145)  St.  Sebastian.  22.  (F.  146) 
St.  Anthony.  23.  (F.  147)  St.  Christopher.  24.  (F.  148  v.)  The  Trinity. 
25.  (F.  149  V.)  St.  Michael.  26.  (F.  150  v.)  St.  John  the  Baptist.  27. 
(F.  151  V.)  St.  Stephen.  28.  (F.  152  v.)  St.  Laurence.  29.  (F.  153  v.) 
St.  George.  30.  (F.  154  v.)  The  Mass  of  St.  Gregory.  31.  (F.  156  r.) 
St.  Martin.  32.  (F.  157)  St.  Mary  Magdalene.  33.  (F.  158)  St.  Apol- 
lonia.  34.  (F.  159)  St.  Catherine.  35.  (F.  160)  St.  Margaret.  36. 
(F.  161)  St.  Barbara.    37.  (F.  162)  All  Saints. 

This  beautiful  manuscript  is  one  of  the  best  examples  of  French 
miniature  art  of  the  period  in  which  it  was  executed.    It  is  remarkable 


HORiE  99 

for  composition,  technique,  colouring,  and  finish,  and  for  its  freshness 
and  purity.  The  colouring  is  especially  exquisite,  in  brilliant  blues, 
reds,  greens,  etc.,  softened  by  camaieu  d'or^  and  many  of  the  subjects 
are  unusual,  e.  g.,  the  Seven  Cardinal  Sins  with  their  accompanying 
scenes. 

From  the  Spitzer  collection, 

HOR.E  BEAT^  MARI^  VIRGINIS.    S^c.   XV. 

Small  4/0,  red  morocco,  inlaid  borders  of  dark  brown  mo- 
rocco and  light  brown  medallions  on  the  sides,  which  are 
covered  with  delicate  gold  pointille  tooling,  gilt  back,  vellum 
linings,  gilt  edges,  by  Le  Gascon.  In  a  modem  case  of  red 
morocco. 

A  French  Book  of  Hours  written  in  gothic  letters  upon  fine  vellum  in 
the  latter  part  of  the  fifteenth  century.    161  X  110  mm. 

It  contains  170  leaves  (folios  27  and  28  blank)  including  12  for  the 
Calendar,  with  14  lines  to  the  page.  There  are  11  large  miniatures  of 
unusual  delicacy  and  beauty,  divided  into  upper  and  lower  sections  and 
united  by  architectural  borders  in  camaieu  d'or.  The  text  has  no  borders, 
but  it  contains  numerous  initials  in  blue  and  red  heightened  with  gold, 
or  historiated. 

The  subjects  of  the  miniatures  are  1.  (F.  13)  The  Martyrdom  of 
St.  John  the  Evangelist;  below,  St.  John  in  Patmos,  a  devil  approach- 
ing. 2.  (F.  20)  The  Descent  from  the  Cross ;  the  Entombment,  which, 
with  2  other  small  miniatures  in  compartments,  forms  a  trilateral  border. 
3.  (F.  29)  The  Annunciation;  below,  the  arms  of  the  original  owner 
of  the  manuscript  upborne  by  two  angels.  4.  (F.  51)  The  Visitation 
of  Elizabeth;  below,  Zacharias  and  Elizabeth.  5.  (F.  63  v.)  The  Nativ- 
ity. 6.  (F.  68)  The  Announcement  to  the  Shepherds,  one  of  whom  is  a 
woman;  below,  the  Adoration  of  the  Shepherds.  [Between  folios  71 
and  72,  73  and  74,  76  and  77,  three  leaves  are  apparently  missing,  which 
might  have  contained  the  usual  miniatures  for  the  Hours,  ad  Sextam, 
The  Magi;  ad  Nonam,  The  Presentation  in  the  Temple;  ad  Vesperas, 
The  Fhght  into  Egypt.]  7.  (F.  83)  The  Ascension  of  the  Virgin,  a 
striking  composition  in  brilliant  blue,  red,  and  camaieu  d'or;  below, 
the  Death  of  the  Virgin.  8.  (F.  98)  The  Crucifixion ;  and  Christ  bear- 
ing the  Cross.    In  an  historiated  initial  between  the  two  miniatures  is 


100  HORiE 

the  Sacred  Sudarium  of  St.  Veronica.  9.  (F.  102)  The  Descent  of  the 
Holy  Spirit;  below,  the  Ascension,  showing  only  Christ's  feet,  10. 
(F.  106)  King  David  praying;  David  astride  Goliath,  stabbing  him 
with  a  dagger.    11.  (F.  130)  The  Raising  of  Lazarus;   Job  lamenting. 

In  technique,  colouring,  and  finish,  this  manuscript  is  a  very  good 
example  of  French  miniature  art  of  the  period. 

HORiE  BEAT.E  MARINE  VIRGINIS.     S^c.   XV. 

4<o,  brown  levant  morocco,  blind-tooled  back  and  side  panels, 
vellum  linings,  gilt  edges,  by  Riviere. 

An  Italian  Book  of  Hours  written  upon  vellum  in  large  and  small 
gothic  characters  with  frequent  rubrication,  in  the  fifteenth  century. 
182  X  130  mm. 

There  are  210  leaves,  including  12  for  the  Calendar.  Folio  192  is 
blank,  and  there  are  13  lines  to  the  page.  The  name  of  the  principal 
scribe  appears  on  the  verso  of  twenty-three  leaves,  below  the  catchword, 
generally  abbreviated,  but  in  four  instances  (ff.  157,  165,  172,  and  188) 
written  in  full,  Johannes  de  Bruolio.  There  are  23  full-page  miniatures 
surrounded  by  elaborate  borders  in  the  French  manner,  —  "line  and 
leaf"  decoration  in  black  and  burnished  gold  with  flowers  and  foliage 
in  colours.  The  pages  containing  miniatures  have  large  initial  letters 
in  colours  on  a  gold  ground,  and  throughout  the  text  are  numerous 
illuminated  initials.  On  folios  170  and  171  verso  are  two  curious  gro- 
tesques in  black  and  green  forming  initial  letters. 

The  subjects  of  the  miniatures,  which  are  very  finely  drawn  and 
painted  in  camaieu  gris  and  blue  heightened  with  gold,  are  1.  (F.  20  r.) 
The  Annunciation.  2.  (F.  47  v.)  The  Visitation  of  Elizabeth.  3.  (F. 
61  V.)  The  Nativity.  4.  (F.  67  v.)  The  Announcement  to  the  Shepherds. 
5.  (F.  82  V.)  The  Flight  into  Egypt.  6.  (F.  92  r.)  The  Coronation  of 
the  Virgin.  7.  (F.  100  v.)  The  Massacre  of  the  Innocents.  8.  (F.  132v.) 
The  Descent  of  the  Holy  Spirit.  9.  (F.  140  v.)  King  David  praying. 
10.  (F.  161  V.)  A  Burial  Service.  11.  (F.  193  r.)  St.  Lazarus.  12. 
(F.  194  r.)  St.  Christopher.  13.  (F.  195  v.)  St.  Anthony.  14.  (F.  196  v.) 
St.  Laurence.  15.  (F.  197  v.)  St.  Mary  Magdalene.  16.  (F.  198  v.) 
St.  Catherine.  17.  (F.  200  r.)  St.  Leonard.  18.  (F.  201  r.)  The  Trinity. 
19.  (F.  202  r.)  St.  Eustache.  20.  (F.  203  v.)  St.  Blaise.  21.  (F.  206  r.) 
St.  Barbara.  22.  (F.  207  v.)  St.  Apollonia.  23.  (F.  208  v.)  St.  Francis 
of  Assisi. 


HOR^.  101 

At  least  two  scribes  worked  on  this  manuscript,  the  second  one  be- 
ginning on  foHo  193  with  the  prayers  to  the  various  saints.  On  folios 
204  verso,  205  recto,  and  210  recto  appears  to  be  a  third  variety  of 
character,  "De  sancto  bernardo,"  "De  sancto  Joseph,"  and  "De  sancto 
Claudio."  At  the  conclusion  of  the  text  on  folio  209  verso  is  written, 
by  a  different  scribe  from  the  one  who  completed  the  manuscript,  "Les 
presantes  [sic]  heures  ont  estes  acheptees  a  dijon  en  bourgoingne  —  124." 

HOR^   BEAT^   MARI^  VIRGINIS.     S^c.  XV. 

Square  8vo,  brown  levant  morocco,  blind-tooled  back  and 
side  panels,  gilt  edges. 

An  Italian  Book  of  Hours  written  in  gothic  characters  upon  vellum 
after  1450.    161  X  114  mm. 

It  contains  140  leaves,  including  12  for  the  Calendar,  with  15  lines 
to  the  page.  There  are  15  large  and  10  small  miniatures,  the  latter  in 
the  form  of  historiated  initials,  also  numerous  smaller  illuminated 
initials. 

The  borders,  of  which  there  are  25,  all  surrounding  the  miniatures, 
are  of  a  style  rarely  seen;  they  are  outlined  by  a  frame  of  blue  inter- 
lacing fillets  and  decorated  with  conventional  flowers  in  blue  or  red, 
peacocks,  pheasants,  partridges,  lions,  leopards,  serpents,  and  nude 
boys  on  a  ground  of  thick  foliage  with  tiny  leaves  in  gold.  The  pages 
of  the  text  opposite  the  first  10  large  miniatures,  containing  the  10  small 
miniatures,  have  borders  of  a  similar  character. 

The  subjects  of  the  15  large  miniatures,  the  first  10  of  which  are 
painted  on  the  verso  of  the  leaves,  are  1.  (F.  19)  The  Annunciation. 
2.  (F.  33)  The  Visitation  of  Elizabeth.  3.  (F.  49)  The  Nativity.  4. 
(F.  56)  The  Adoration  of  the  Magi.  5.  (F.  62)  The  Resurrection. 
6.  (F.  67)  The  Ascension.  7.  (F.  73)  The  Descent  of  the  Holy  Spirit. 
8.  (F.  82)  The  Assumption  of  the  Virgin.  9.  (F.  98)  The  Crucifixion. 
10.  (F.  109)  King  David  playing  the  Psalter.  11.  (F.  132)  St.  Nicholas. 
12.  (F.  133)  St.  Erasmus.  13.  (F.  135)  God  the  Father  teaching  a 
young  Burgundian  priest  to  pray.  14.  (F.  138)  Sts.  Peter  and  Paul. 
15.  (F.  139)  St.  Matthew. 

Among  the  subjects  of  the  10  small  miniatures  are  the  Virgin  with 
the  Infant  Christ,  several  prophets  and  a  sibyl,  the  crucified  Christ 
standing  in  the  tomb,  and  King  David  praying. 


102  HORiE 

The  paintings  are  evidently  by  artists  of  varying  degrees  of  skill,  but 
belonging  to  the  same  school.  The  composition  is  occasionally  rudi- 
mentary, but  the  general  effect  is  of  careful  attention  to  detail,  par- 
ticularly in  facial  expression.  The  painting  of  the  Virgin  and  Child  is 
especially  charming.  The  large  miniatures  are  remarkable  for  original- 
ity of  design,  e.  g.,  in  the  Descent  of  the  Holy  Spirit,  the  group  is  repre- 
sented as  in  a  pillared  space  above  a  wall  in  the  centre  of  which  is  a  door. 

This  manuscript  could  not  have  been  executed  before  1450,  as  in  the 
Calendar,  at  May  20,  is  the  name  of  St.  Bernardino  of  Siena,  who  was 
not  canonized  until  that  year.  This  circumstance  and  the  fact  that  in 
the  Calendar  are  also  the  names  of  St.  Francis  of  Assisi,  St.  Anthony  of 
Padua,  and  St.  Elizabeth  of  Hungary,  make  it  probable  that  the  manu- 
script was  executed  in  a  Franciscan  monastery. 

At  the  foot  of  folios  20  and  110  are  arms, — a  cross  surmounted  by 
a  lambel  with  three  pendants,  both  within  a  wreath  of  bay  leaves. 

From  the  library  of  Ambroise  Firmin-Didot. 

HORiE  BEAT^   MARINE  VIRGINIS.    S^c.  XV. 

Small  4fo,  in  a  sixteenth  century  binding  of  brown  calf- 
skin tooled  in  fillets,  leaf-spraySy  azured  ornaments^  angels* 
heads,  fleurs-de-lys,  etc.,  in  compartments  in  the  manner  of 
the  Eves,  silk  ties,  gilt  edges.  In  the  centre  of  the  recto  is  the 
name  ^* Francois  le  Bigot,'*  in  the  centre  of  the  verso,  ^'Per- 
rette  Damours.**  In  a  case  of  brown  morocco  lined  with 
velvet. 

An  exquisite  Book  of  Hours  executed  in  gothic  characters  upon  the 
finest  of  vellum  during  the  latter  part  of  the  fifteenth  century,  probably 
in  Italy.     141  X  100  mm. 

There  are  107  leaves,  including  6  for  the  Calendar,  with  26  lines  to 
the  page.  Folios  7,  8,  9,  11,  12,  42,  and  91  are  blank.  The  illumina- 
tions consist  of  7  miniatures  measuring  about  35  X  30  mm.  and  5  meas- 
uring 12  X  12  mm.  The  former  have  side  borders  of  foliage,  scrolls, 
etc.,  in  blue,  green,  and  shaded  gold.  Throughout  the  volume  are  nu- 
merous large  and  small  initial  letters  in  gold  on  a  ground  of  blue  and 
red. 

The  7  larger  miniatures  are  exquisitely  painted  in  camaieu  d^or  on  a 
ground  of  blue,  red,  and  brown,  —  an  unusual  style  of   illumination. 


HOR^  103 

The  subjects  are  1.  (F.  18  v.)  The  Visitation  of  Elizabeth.  2.  (F.  24  v.) 
The  Nativity;  an  historiated  initial  of  blue  on  a  gold  ground,  the  scene 
being  in  gold  on  a  red  ground.  3.  (F.  27  r.)  The  Announcement  to  the 
Shepherds.  4.  (F.  29  v.)  The  Adoration  of  the  Magi.  5.  (F.  32  r.) 
The  Presentation  in  the  Temple.  6.  (F.  34  v.)  The  Flight  into  Egypt. 
7.  (F.  38  V.)  The  Coronation  of  the  Virgin. 

The  5  small  miniatures,  on  folio  10,  represent  the  four  Evangelists 
and  the  Virgin,  and,  like  all  the  other  illuminations,  are  painted  with 
microscopic  delicacy.  The  text  on  this  folio  is  extremely  minute,  with 
tiny  illuminated  initial  letters. 

HOR.E  BEAT^  MARINE  VIRGINIS.    S^c.  XV-XVI. 

Small  4fo,  black  shagreen,  the  sides  ornamented  with  chased 
silver  borders  and  plaques,  in  the  centre  of  which  are  medal- 
lions, also  in  chased  silver,  containing  small  busts;  silver  clasp, 
gilt  edges. 

An  exquisite  Flemish  Book  of  Hours  written  in  gothic  characters 
upon  the  finest  of  vellum  at  the  end  of  the  fifteenth  or  the  beginning  of 
the  sixteenth  century,  probably  at  Bruges.    105  X  79  mm. 

There  are  209  leaves,  including  13  for  the  Calendar,  each  page  con- 
taining 16  lines.  On  the  last  four  folios  is  a  "Canticum  Athanasii  epi." 
There  are  16  large  and  40  small  miniatures,  of  which  24  are  in  the 
Calendar,  also  73  borders,  —  24  in  the  Calendar,  the  others  surround- 
ing the  large  miniatures  and  the  pages  opposite.  They  are  composed 
of  flowers,  birds,  animals,  insects,  fruits,  jewels,  skulls,  grotesques  (e.  g., 
a  frog-woman,  a  man-fish,  animals  with  two  human  heads)  painted  in 
brilliant  colours  on  a  ground  of  dull  gold,  red,  and  green  in  such  relief 
that  the  objects  appear  almost  detached  from  the  background.  The 
first  two  pages  of  the  Calendar  have  borders  of  jewels  on  a  dark  blue 
ground ;  those  for  September  have  a  curious  arrangement  of  grape-vines. 

The  subjects  of  the  large  miniatures,  all  painted  on  the  verso  of  the 
leaves,  are  1.  (F.  14)  Adam  and  Eve  standing  at  the  foot  of  the  Tree, 
the  Serpent  with  a  woman's  head  and  bat's  wings  coiled  around  the 
trunk.  The  garden  is  an  orchard  exquisitely  painted.  2.  (F.  16)  A 
half-length  figure  of  Christ  in  the  act  of  blessing;  in  His  left  hand  a 
crystal  ball  supporting  a  gold  cross.  3.  (F.  19)  The  Crucifixion;  a 
beautiful  landscape  in  the  background,  the  Virgin  and  St.  John  in  the 


104  HOR^ 

foreground.  4.  (F.  26)  The  Descent  of  the  Holy  Spirit.  5.  (F.  32)  The 
Virgin  and  Child.  6.  (F.  44)  The  Annunciation;  a  bed-room  scene 
painted  with  much  delicacy.  7.  (F.  63)  The  Visitation  of  Elizabeth. 
8.  (F.  75)  The  Nativity.  9.  (F.  81)  The  Announcement  to  the  Shep- 
herds. 10.  (F.  86)  The  Adoration  of  the  Magi,  accompanied  by  a 
retinue.  11.  (F.  79)  The  Flight  into  Egypt;  a  charming  landscape  in 
the  background.  12.  (F.  195)  The  Massacre  of  the  Innocents;  a  vil- 
lage street  in  the  background.  13.  (F.  112)  The  Coronation  of  the 
Virgin;  painted  in  brilliant  red  and  blue.  14.  (F.  122)  King  David 
praying;  Roman  towers  and  a  landscape  in  the  background.  15. 
(F.'^144)  A  Burial  Service  within  a  chapel.  16.  (F.  187)  The  Descent 
from  the  Cross. 

The  24  small  miniatures  in  the  Calendar  represent  the  usual  sub- 
jects painted  in  medallions  at  the  foot  of  the  pages.  The  16  other  small 
miniatures  are  historiated  initals  between  folios  195  and  206.  Their 
subjects  are  St.  Louis,  St.  Michael,  St.  John  the  Baptist,  Sts.  Peter  and 
Paul,  St.  James  the  Major,  St.  Anthony,  St.  Francis,  St.  Jerome,  St. 
Nicholas,  St.  Mary  Magdalene,  St.  Catherine,  St.  Barbara,  St.  Susanna, 
St.  Margaret,  All  Saints,  St.  Athanasius. 

More  than  one  artist  painted  the  illuminations  in  this  manuscript. 
The  half-length  painting  of  Christ,  the  Virgin  and  Child,  the  Annuncia- 
tion, and  the  Coronation  of  the  Virgin  are  the  work  of  a  master,  some 
connoisseurs  say  of  Memling,  who  died  in  1494.  Whether  or  not  this 
be  true,  the  same  characteristics  are  apparent  that  distinguish  him 
from  his  contemporaries,  —  purity  of  design,  delicacy  of  colour  and 
technique,  and  charm  of  expression.  All  of  the  paintings,  however,  are 
remarkable. 

The  Flemish  origin  of  the  taanuscript  is  shown  also  in  the  Calendar, 
which  contains  a  large  number  of  saints  especially  venerated  in  Flanders, 
e.  g.,  St.  Aldegonde,  founder  of  the  abbey  of  the  canonesses  of  Mau- 
beuge;  St.  Amand,  Bishop  of  Maestricht  and  one  of  the  patrons  of  the 
city  of  Gand ;  St.  Medard,  Bishop  of  Tournai ;  St.  Willihald  ;  St.  Lam- 
bert, patron  of  Liege;  and  St.  Hubert,  first  Bishop  of  that  city. 

It  would  be  difficult  to  find  a  more  exquisite  manuscript  of  its  kind 
or  one  in  more  perfect  condition.  It  was  regarded  as  one  of  the  gems 
in  the  collections  of  J.  J.  de  Bure,  Ambroise  Firmin-Didot,  and  Baron 
de  I^a  Roche  Lacarelle. 


UORM  105 

HOR^   BEAT^   MARI^  VIRGINIS.    S^c.  XV-XVI. 

4to,  pigskin  blind-tooled  in  panels,  the  monogram  of  M. 
Yememz  in  the  corners,  silver  clasps  formed  of  his  monogram, 
gilt  edges,  by  Trautz-Bauzonnet.  Enclosed  in  a  pigskin 
chamois-lined  box. 

A  Flemish  Book  of  Hours  written  at  the  end  of  the  fifteenth  or  the 
beginning  of  the  sixteenth  century  in  gothic  letters  of  silver  and  gold 
upon  black  vellum.     171  X  122  mm. 

There  are  121  leaves  including  a  title-page  and  12  folios  for  the  Cal- 
endar, with  17  lines  to  the  page.  The  miniatures  are  14  in  number, 
with  oval  tops,  and  throughout  the  text  are  numerous  large  and  small 
initial  letters  in  burnished  gold  on  a  green  ground.  The  title-page  con- 
tains the  wording  "OflBcium  B:  Marise  Virginis"  written  in  large  letters 
of  gold,  below  which  is  a  fleuron  in  the  form  of  a  large  heraldic  fieur-de- 
lys  within  a  mural  crown.  This  page  contains  a  border  similar  to  the 
others  in  the  book.  There  are  in  all  134  borders  composed  of  foliage, 
flowers,  birds,  animals,  grotesques,  and  chimeras  painted  in  gold  on 
a  dark  blue  ground,  producing  the  effect  of  the  beautiful  enamels  of  the 
Middle  Ages. 

The  miniatures  are  all  painted  on  the  verso  of  the  leaves,  with  the 
rectos  blank.  Their  subjects  are  l."(F.  14)  The  Crucifixion.  2.  (F,  18) 
The  Descent  of  the  Holy  Spirit.  3.'  (F.  22)  The  Virgin  seated  with  the 
Child,  whom  Angels  are  entertaining.  4.  (F.  29)  The  Annunciation. 
5.  (F.  39)  The  Visitation  of  Elizabeth.  6.  (F.  49)  The  Nativity.  7. 
(F.  54)  The  Announcement  to  the  Shepherds.  8.  (F.  58)  The  Adora- 
tion of  the  Magi.  9.  (F.  62)  The  Massacre  of  the  Innocents.  10. 
(F.  66)  The  Flight  into  Egypt.  11.  (F.  72)  The  Coronation  of  the 
Virgin.  12.  (F.  76)  King  David  praying  in  the  desert.  13.  (F.  93) 
The  Resurrection  of  Lazarus.  14.  (F.  98)  A  Burial  Service  in  a  chapel. 
The  Calendar  contains  a  number  of  Flemish  saints,  e.  g.,  St.  Amand, 
St.  Waast,  St.  Lambert,  and  St.  Bavon.  The  miniatures  are  extremely 
well  painted,  in  strong  colours  heightened  with  gold,  harmonizing  ad- 
mirably with  the  borders.  The  black  background  imparts  a  sombre 
tone  which  is  maintained  throughout. 

This  manuscript  was  formerly  in  the  Yemeniz  and  Didot  collections, 
and  is  an  iconographical  curiosity. 


106  HOR^ 

HOR^  BEAT^   MARIiE  VIRGINIS.    S^c.  XVI. 

4<o,  old  dark  red  velvet  over  oak  boards,  gilt  edges.  In 
a  modem  cloth  case. 

A  superb  Book  of  Hours  written  in  gothic  characters  upon  vellum,  in 
the  north  of  France,  after  January  7,  1499,  for  Louis  XII  and  his  first 
wife,  Anne  de  Bretagne.  The  arms  of  the  King  are  found  on  folio  13. 
230  X  166  mm. 

It  contains  254  leaves,  12  for  the  Calendar,  with  14  lines  to  the  page. 
Folio  30  is  blank.  There  are  16  large  and  68  smaller  miniatures,  which 
are  all  in  the  borders,  including  the  24  in  the  Calendar ;  also  numerous 
large  and  small  illuminated  initials. 

Every  page  is  surrounded  by  an  exquisitely  painted  "line  and  leaf" 
border  in  black  and  burnished  gold  with  flowers,  fruit,  foliage,  birds,  etc., 
in  brilliant  colours.  The  borders  containing  miniatures  are  more  elabo- 
rately decorated  in  compartments  with  richly  painted  flowers  on  a 
ground  of  white  or  gold.  The  first  three  miniatures  occupy  the  entire 
pages,  and  are  remarkable  for  elaboration  of  design,  colour,  and  finish. 

The  subjects  of  the  large  miniatures  are  1.  (F.  13)  The  Last  Supper, 
in  an  architectural  border ;  at  the  left  in  a  niche  is  a  female  figure  blind- 
folded ;  at  the  right,  at  the  top  of  a  flight  of  stairs  between  two  columns 
is  Judas  Iscariot  holding  the  purse;  above  his  head  are  the  arms  of 
Louis  XII  painted  in  blue  and  gold.  In  another  niche  at  the  right  is  de- 
picted a  queen  holding  a  chalice  and  a  spear  with  a  pennant.  At  the  foot 
of  the  page  is  St.  John  the  Evangelist  on  Patmos,  with  a  landscape  con- 
taining Norman  towers  in  the  distance.  2.  (F.  16)  Herod  receiving  the 
Magi,  one  of  whom  is  black.  The  scene  is  a  richly  painted  interior,  with 
an  open  fireplace.  The  lower  part  of  the  page  represents  the  procession 
of  the  Magi  and  their  retinue.  In  the  lower  left-hand  corner  is  a  small 
miniature  of  St.  Mark.  3.  (F.  18  v.)  The  Ascension ;  below,  two  compart- 
ments formed  by  an  architectural  design  in  camaieu  gris,  representing  St. 
Matthew  and  an  angel  with  peacock  wings  holding  his  ink-well.  4.  (F. 
20)  The  Descent  from  the  Cross ;  three  small  medallion  miniatures  in  the 
border,  two  on  the  outer  margin,  one  at  the  bottom  representing  the 
Betrayal,  Christ  carrying  the  Cross,  and  the  Nailing  to  the  Cross.  5. 
(F.  31)  The  Annunciation ;  a  bed-room  scene  with  a  beautiful  little  land- 
scape through  the  open  window;  in  the  border  three  small  miniatures 
of  scenes  relating  to  the  Virgin,  the  one  at  the  foot  representing  her  mar- 


UORJE  107 

riage.  On  each  side  of  this  painting  is  a  kneeHng  figure,  of  a  man  and  a 
woman,  possibly  Louis  XII  and  Anne  de  Bretagne.  6.  (F,  61)  The 
Visitation  of  EHzabeth ;  in  the  border  are  the  Annunciation,  the  Virgin  on 
her  journey  to  Ehzabeth,  attended  by  two  women,  and  the  Birth  of  John 
the  Baptist.  7,  (F.  75  r.)  The  Nativity;  in  the  border,  three  scenes  from 
the  Hfe  of  the  Virgin,  including  the  Flight.  8.  (F,  82  v.)  The  Announce- 
ment to  the  Shepherds,  one  of  whom  is  a  woman ;  a  detailed  landscape 
containing  two  Norman  towers  in  the  background ;  the  borders  show  the 
Shepherds  in  three  scenes.  9.  (F.  87  v.)  The  Adoration  of  the  Magi,  one 
of  whom  is  black;  the  procession  of  the  Magi  in  the  three  small  minia- 
tures. 10.  (F.  92  V.)  The  Presentation  in  the  Temple.  11.  (F.  105  v.) 
The  Coronation  of  the  Virgin  by  the  Trinity ;  in  the  border,  her  Death  and 
Assumption,  12.  (F.  113  r.)  King  David  in  full  armour  kneeling  before 
an  altar,  his  army  in  the  background.  13.  (F.  137)  The  Crucifixion. 
14.  (F.  146)  The  Descent  of  the  Holy  Spirit;  three  scenes  from  the  life 
of  Christ  in  the  border.  15.  (F.  153  v.)  The  Raising  of  Lazarus;  his 
Death  and  Burial  in  the  border.  16.  (F.  211  v.)  The  Virgin  and  Child 
enthroned ;  three  Miracles  in  the  border. 

The  24  small  miniatures  in  the  Calendar  (which  is  in  French)  repre- 
sent the  usual  subjects ;  the  signs  of  the  zodiac  are  one  third  the  size  of 
the  scenes  appropriate  to  the  months  and  are  in  the  upper  right-hand 
corners  of  the  recto  of  the  folios ;  the  scenes  are  in  the  centre  of  the  foot  of 
the  pages. 

All  of  the  miniatures  are  remarkable  for  brilliancy  of  colouring,  per- 
fection of  detail,  and  admirable  perspective. 

nORM  BEAT^   MARIiE  VIRGINIS.    S^c.  XVI. 

Small  8vo,  old  dark  brown  morocco^  gilt  hack  and  side 
'panels  with  ornaments^  gilt  edges. 

A  Flemish  Book  of  Hours  written  in  gothic  characters  upon  fine  vellum 
in  the  beginning  of  the  sixteenth  century  for  Catherine  Hurault  de  Chi- 
verny,  whose  arms,  quartered  with  those  of  the  Poncher  family,  are  at  the 
foot  of  folio  83  verso.    161  X  111  mm. 

It  contains  120  leaves,  including  12  for  the  Calendar,  which  is  in 
Latin,  with  21  lines  to  the  page. 

There  are  12  large  and  3  small  miniatures,  borders  of  scrolls,  flowers, 
birds,  and  animals  in  colours  on  a  gold  ground,  surrounding  the  large 
paintings,  and  numerous  illuminated  initial  letters. 


108  HOR^ 

The  subjects  of  the  large  miniatures  are  1.  (F.  13  r.)  St.  John  the 
Evangelist  on  Patmos.  2.  (F.  18  r.)  The  Agony  in  the  Garden.  3.  (F. 
27  r.)  The  Annunciation.  4.  (F.  35  r.)  The  Visitation  of  Elizabeth.  5. 
(F.  44  V.)  The  Nativity.  6.  (F.  47  v.)  The  Announcement  to  the  Shep- 
herds. 7.  (F.  50  r.)  The  Adoration  of  the  Magi.  8.  (F.  53  r.)  The  Presen- 
tation in  the  Temple.  9.  (F.  56  r.)  The  Flight  into  Egypt.  10.  (F.  62  v.) 
The  Coronation  of  the  Virgin.  11.  (F.  67)  King  David  praying.  12, 
(F.  83  V.)  The  Resurrection  of  Lazarus. 

The  3  small  miniatures  (34  X  34  mm.,  on  folios  14,  15,  and  17) 
represent  St.  Luke,  St.  Matthew,  and  St.  Mark. 

The  text  of  this  manuscript  is  remarkably  clear.  Below  the  minia- 
ture on  folio  83  verso  is  written  in  gold  letters,  "Sensuiuent  les  vigiles  des 
trefpaffez  en  chant  et  notte."  Almost  every  page  following  contains 
music  score,  which  differentiates  this  manuscript  from  most  others  of  its 
class.    At  the  foot  of  folio  13  recto  is  a  blank  escutcheon. 

The  miniatures  are  finely  executed  and  cleverly  heightened  with  gold. 

HOR^   BEAT.^   MARI.E  VIRGINIS.     S^c.  XVI. 

4<o,  old  dark  brown  morocco,  tooled  in  panels,  on  both 
covers  arms  in  gold  within  a  chiselled  border,  silver-gilt  clasps, 
gaujjred  gilt  edges.    In  a  modem  case  of  red  levant  morocco. 

An  exquisite  Flemish  Book  of  Hours  written  in  gothic  characters  upon 
fine  vellum  at  the  beginning  of  the  sixteenth  century,  by  one  or  more  of 
the  Horebout  family.  Three  or  four  of  the  especially  fine  miniatures 
were  painted  by  Gerard  Horebout  (about  1480-1540)  one  of  the  most 
famous  artists  of  his  time.     213  X  153  mm. 

The  volume  consists  of  303  leaves,  including  13  for  the  Calendar,  with 
17  lines  to  the  page.  There  are  27  fine  large  miniatures  surrounded  by 
borders,  24  miniature  borders  in  the  Calendar,  and  71  other  borders 
beautifully  painted  in  brilliant  flowers,  fruits,  birds,  insects,  and  scrolls, 
in  high  relief,  on  a  ground  of  yellow  or  dull  gold,  or  after  the  manner  of 
the  Italian  Renaissance,  with  ornaments,  scrolls,  figures,  etc.,  in  colours 
and  cama'ieu  d'or  on  a  ground  of  blue,  red,  or  green.  There  are  also 
numerous  large  (floriated)  and  small  initial  letters  and  finials  delicately 
painted  in  cama'ieu  d'or  on  a  ground  of  rose,  blue,  and  green. 

The  subjects  of  the  large  miniatures  are  1.  (F,  13  v.)  Christ  in  the  act 
of  blessing;    in  His  left  hand  a  crystal  ball  surmounted  by  a  cross.     2. 


HOR.E  109 

(F.  15  V.)  St.  John  the  Evangelist  on  Patmos;  in  the  background  a 
charming  river  scene.  3.  (F.  17  v.)  St.  Luke  painting  the  portrait  of  the 
Virgin ;  the  detail  of  the  interiors  of  this  and  the  two  following  paintings  is 
remarkable.  4.  (F.  19  v.)  St.  Matthew.  5.  (F.  21  v.)  St.  Mark.  6. 
(F.  24  v.)  The  Agony  in  the  Garden;  Christ  kneeling  upon  a  hill,  at  the 
foot  of  which  are  the  Roman  soldiers  approaching.  7.  (F.  38  v.)  Christ's 
entry  into  Jerusalem,  Zaccheus  in  the  sycamore  tree.  8.  (F.  50  v.)  Christ 
before  Pilate.  9.  (F.  62  v.)  The  Last  Supper.  10.  (F.  81  v.)  The  Cruci- 
fixion. 11.  (F.  88  V.)  The  Descent  of  the  Holy  Spirit;  the  scene  is  a 
chapel.  The  borders  on  this  and  the  opposite  pages  contain  Latin  in- 
scriptions in  camdieu  bleu  or  scrolls  of  camaieu  d'or  on  a  ground  of  rose. 
12.  (F,  103  V.)  The  Virgin  and  Child,  two  angels  holding  a  crown  above 
her.  13.  (F.  106  v.)  Salome  receiving  from  the  executioner  the  head  of 
John  the  Baptist  on  a  charger;  the  body  of  St.  John  is  on  the  ground,  in 
the  distance  is  a  temple.  14.  (F,  112  v.)  St.  Francis  of  Assisi  receiving 
the  stigmata.  15.  (F.  114  v.)  The  Virgin  and  Child  at  the  feet  of  St.  Anna; 
in  the  border  is  depicted  the  Birth  of  the  Virgin.  16.  (F.  116  v.)  St. 
Catherine  with  book  and  sword  standing  against  a  black  drapery ;  under 
her  feet  is  the  Emperor  Maximin,  in  the  background  the  wheel  and  the 
scene  of  her  beheading.  In  the  border  are  painted  three  noble  ladies 
kneeling  before  a  Franciscan  monk,  who  holds  a  portrait  of  the  Virgin 
and  Child.  This  is  a  most  exquisite  miniature,  worthy  of  Van  Eyck. 
17.  (F.  136  V.)  The  Mocking  of  Christ;  in  the  borders  on  this  and  the 
opposite  pages  are  Latin  inscriptions  in  letters  of  blue,  rose,  and  green  on 
a  ground  of  dull  gold  ornamented  with  a  diaper  pattern.  18.  (F,  147  v.) 
Christ  bearing  the  Cross;  in  the  background  the  towers  of  Jerusalem, 
in  the  borders  vases  or  pots  of  flowers.  19.  (F.  153  v.)  The  Crucifixion 
with  the  two  Thieves ;  at  the  foot  of  the  Cross  a  large  group  of  soldiers, 
three  on  horseback.  20.  (F.  164  v.)  The  Entombment;  the  three  Crosses 
on  a  hill  in  the  background.  21.  (F.  187  v.)  The  Visitation  of  Eliza- 
beth; an  angel  and  Judith  attending;  the  two  beautiful  borders  are 
composed  of  jewels  in  camaieu  d'or  and  gris  and  colours  on  a  ground  of 
diapered  grey  and  rose.  22.  (F.  214  v.)  The  Presentation  in  the  Temple; 
the  two  borders  contain  three  small  miniatures  of  a  clown,  a  monk  on 
horseback  on  his  way  to  market,  and  a  woman  carrying  a  basket  of  eggs 
on  her  arm  and  a  cage  of  birds  on  her  head,  23.  (F.  219  v.)  Joseph  and 
the  Virgin  and  Child  pausing  by  the  wayside  in  the  Flight  into  Egypt ;  a 
domestic  scene  in  which  the  ass  is  grazing,  Mary  is  feeding  the  Child,  and 


110  HOR^ 

Joseph  drawing  water  from  a  near-by  stream.  In  the  background  is  a 
charming  river  scene.  24.  (F.  228  v.)  The  Assumption  of  the  Virgin. 
25.  (F.  234  V.)  Christ's  Genealogical  Tree;  Jesse  recumbent  on  the 
ground.  26.  (F.  242  v.)  David  and  Goliath.  27.  (F.  265  v.)  A  Burial 
Service  within  a  church;  in  the  two  borders  are  skulls  and  a  cadaver 
looking  into  a  mirror,  with  the  legend,  "Respice  finem. " 

The  24  miniature  borders  in  the  Calendar  depict  rural  scenes  appropri- 
ate to  the  months  and  the  signs  of  the  zodiac  in  circular  form  in  the  upper 
part  of  the  recto  of  the  leaves. 

All  of  the  miniatures  are  of  exquisite  design  and  technique. 

HOR^  BEAT^  MARI.E  VIRGINIS.    [Almanac  pour 
DIXHUIT  ANS,   1513-1530]. 
Mo,  red  morocco,  side  borders  and  back  vanels  tooled  in 
fillets  and  ornaments,  gilt  edges,  by  P.  Purgold.    In  a  case  of 
half  red  morocco. 

A  French  Book  of  Hours  written  in  bold  gothic  letters  upon  vellum 
about  1513.    250  X  187  mm. 

It  contains  228  leaves,  including  12  for  the  Calendar  and  a  preliminary 
folio  on  the  verso  of  which  is  an  Almanac  for  eighteen  years,  from  1513— 
30.  Folio  227  is  blank,  folio  228  contains  on  the  verso  six  lines  be- 
ginning "Quant  court,  xvi.  vxiii.  ii.  x.  xviii.  vii.  Fertile."  Many  of  the 
rubrics  (written  in  blue  ink)  and  several  of  the  prayers  are  in  French. 

There  are  185  miniatures,  of  which  39  are  large,  and  146  small,  96  of 
them  being  in  the  Calendar,  4  on  each  page  in  architectural  borders.  The 
large  miniatures  are  surrounded  by  borders  of  an  architectural  design  in 
camaieu  d'or  heightened  with  blue,  red,  and  green,  introducing  angels, 
garlands,  etc.  There  are  also  numerous  large  and  small  initial  letters  in 
gold  on  a  ground  of  blue  and  red,  with  scroll  or  floral  decoration.  The 
presumable  portrait  of  the  original  owner  of  the  manuscript  appears  in 
eight  miniatures. 

The  subjects  of  the  large  paintings  are  1.  (F.  14  r.)  St.  John  the  Evan- 
gelist on  Patmos.  2.  (F.  20  r.)  The  Trinity;  in  the  background  a  choir 
of  angels  painted  in  red  heightened  with  gold.  3.  (F.  28  r.)  Christ  ac- 
companied by  his  Disciples  and  the  Virgin  Mary,  the  owner  of  the  manu- 
script (  ?)  kneeling  in  prayer.  4.  (F,  33  v.)  The  Cross  and  other  Symbols 
of  the  Passion,  including  the  Sacred  Sudarium,  painted  in  camaieu  d'or  on 


HOR.^  Ill 

a  ground  of  bistre,  with  some  colours  introduced.  5.  (F.  36  v.)  The 
Assumption  of  the  Virgin.  6.  (F.  39  v.)  A  Choir  of  singing  Angels;  the 
border  has  three  small  miniatures  containing  archangels  and  angels. 
7.  (F.  40  r.)  All  Saints;  St.  John  the  Baptist  on  the  left,  St.  John  the 
Evangelist  on  the  right.  8.  (F.  42  r.)  The  owner  of  the  manuscript  ( ?) 
supported  by  an  angel,  kneeling  in  an  open  field  in  prayer  to  God  the 
Father.  9.  (F.  55  v.)  The  Annunciation.  10.  (F.  66  r.)  The  Vision  of  the 
Virgin  and  Child  by  Augustus  Caesar,  as  prophesied  by  the  Sibyl  Tiburtina, 
11.  (F.  77  V.)  The  Crucifixion  with  the  two  thieves;  Mary  and  other 
holy  women  on  the  left,  a  group  of  Roman  soldiers  on  the  right.  12. 
(F.  79  V.)  The  Descent  of  the  Holy  Spirit.  13.  (F.  81  r.)  The  Nativity. 
14.  (F.  88  r.)  The  Announcement  to  four  Shepherds.  15.  (F.  94  v.)  The 
horses  and  retinue  of  the  Magi  awaiting  their  return.  This  original  com- 
position is  on  the  page  opposite  No.  16  (F.  95  r.),  the  Adoration  of  the 
Magi,  and  is  surrounded  by  a  narrow  border  in  red  and  gold.  17.  (F. 
101  V.)  Mary  and  Joseph  on  their  way  to  the  Temple,  another  original  de- 
sign which  is  opposite  No.  18  (F.  102  r.),  the  Presentation  in  the  Temple. 
19.  (F.  108  V.)  The  Flight  into  Egypt;  two  angels  attending.  20.  (F. 
118  V.)  The  Coronation  of  the  Virgin ;  a  group  of  seven  persons.  21.  (F. 
128  r.)  The  owner  of  the  manuscript  kneeling  before  the  Virgin  and 
Child.  The  French  prayers  begin  at  this  point.  22.  (F.  128  v.)  The 
Trinity ;  a  curious  composition  in  which  the  Holy  Spirit,  seated  between 
God  the  Father  and  God  the  Son,  is  represented  as  a  man-angel  with 
large  wings  and  clothed  in  white.  23.  (F.  134  v.)  Joshua  arresting  the 
courses  of  the  sun  and  the  moon.  24.  (F.  169  r.)  Death  standing  beside  a 
victim ;  skulls  in  the  border.  25.  (F.  169  v.)  The  owner  of  the  manuscript 
kneeling  in  prayer  to  Christ;  the  scene  is  an  open  field.  26.  (F.  170  r.) 
Moses  and  the  Burning  Bush.  27.  (F.  170  v.)  Moses  receiving  the 
Tables  of  Law.  28.  (F.  175  v.)  Death  astride  a  bull  and  with  a  coffin 
under  his  arm,  trampling  under  foot  a  number  of  victims,  among  them  a 
pope,  a  bishop,  and  a  king.  29.  (F.  179  r.)  The  Last  Judgment,  the 
Virgin  kneeling  at  the  left,  St.  John  the  Baptist  at  the  right.  30.  (F.  180  v.) 
A  representation  of  Hell;  Satan  and  his  fiends  presiding  over  the  de- 
struction of  a  cauldron  full  of  burning  victims.  31.  (F.  182  v.)  God  the 
Father,  God  the  Son,  the  Virgin  Mary,  and  a  group  of  Saints  in  Heaven. 
32.  (F.  193  V.)  Death  on  a  horse  riding  over  a  victim.  33.  (F.  194  r.) 
Cadavers  and  skulls  lying  in  a  graveyard  in  the  centre  of  which  is  erected 
a  cross.    34.  (F.  194  v.)  Another  representation  of  Hell;  fiends  casting 


112  HORiE 

victims  into  the  jaws  of  a  dragon.  35.  (F.  195  v.)  The  owner  of  the  manu- 
script kneeling  in  prayer  before  Christ,  who  is  attended  by  an  angel  bear- 
ing a  book.  36.  (F.  196  r.)  God  the  Son  and  God  the  Father.  37.  (F. 
196  V.)  A  death-bed  scene.  38.  (F.  206  r.)  The  death  of  a  Pope  (Julius 
II,  d.  1513  ?)  surrounded  by  a  bishop  and  four  cardinals.  39.  (Ff.  225  v.- 
226  r.)  Christ  bearing  the  Cross;  a  large  painting  (140  X  340  mm.) 
extending  across  two  pages. 

The  large  number  of  small  miniatures  in  the  Calendar  -  96  -  and  the 
subjects  are  unusual.  At  the  foot  of  the  recto  of  the  twelve  folios  are 
scenes  appropriate  to  the  months  and  the  zodiacal  signs;  in  the  outer 
borders  and  at  the  foot  of  the  verso  of  the  folios  are  depicted  saints  and 
scenes  from  the  life  of  Christ :  —  (F.  2  v.)  The  Circumcision  and  St. 
Stephen.  (F.  2  v.)  St.  Anthony,  St.  Sebastian,  St.  Vincent,  and  the 
Vision  of  St.  Paul  on  the  Road  to  Damascus.  (F.  3  r.)  The  Presenta- 
tion in  the  Temple  and  St.  Blaise.  (F.  3  v.)  St.  Agatha  and  St.  Dorothea, 
St.  Apollonia,  St.  Peter  as  Pope,  St.  Matthias.  (F.  4  r.)  St.  Albinus,  St. 
Thomas  Aquinas.  (F.  4  v.)  St.  Patricius,  St.  Anselm,  St.  Romanus,  and 
the  Annunciation.  (F.  5  r.)  St.  Mary  of  Egypt,  St.  Helena.  (F.  5  v.)  St. 
Clement,  St.  George,  St.  Mark,  St.  Peter  Martyr.  (F.  6  r.)  St.  Philip,  St. 
James,  and  the  Cross.  (F.  6  v.)  St.  Bernardino  of  Siena,  St.  Juliana, 
St.  Urban,  St.  Petronilla.  (F.  7  r.)  St.  Boniface,  St.  Barnabas.  (F.  7  v.) 
St.  Gervasius  and  St.  Protasius,  the  Birth  of  John  the  Baptist,  St.  John 
the  Evangelist  and  St.  Paul,  also  St.  Peter  and  St.  Paul.  (F.  8  r.)  The 
Visitation  of  Elizabeth,  St.  Martin  of  Tours.  (F.  8  v.)  St.  Margaret,  St. 
Mary  Magdalene,  St.  James,  St.  Anna  and  the  Virgin.  (F.  9  r.)  The 
Transfiguration,  the  Assumption  of  the  Virgin.  (F.  9  v.)  St.  Bernard  of 
Clairvaux,  St.  Bartholomew,  St.  Louis,  and  the  Martyrdom  of  St.  John 
the  Baptist.  (F.  10  r.)  St.  Egidius  and  the  Birth  of  the  Virgin  Mary. 
(F.  10  V.)  St.  Matthew,  St.  Lupus,  Sts.  Cosmo  and  Damian,  St.  Michael. 
(F.  11  r.)  St.  Francis  of  Assisi  and  St.  Dionysius  (Denis).  (F.  11  v.)  St. 
Luke,  St.  Evaristus,  St.  Narcissus,  Sts.  Simon  and  Jude.  (F.  12  r.)  All 
Saints,  St.  Martin.  (F.  12  v.)  St.  Clement,  Sts.  Peter  and  Paul,  St.  Cath- 
erine, St.  Andrew.  (F.  13  r.)  St.  Nicholas  and  St.  Barbara.  (F.  13  v.) 
St.  Thomas,  the  Nativity,  St.  Stephen,  St.  John  the  Evangelist. 

Of  the  50  other  small  miniatures  scattered  through  the  text,  some  are 
only  17  mm.  wide  and  extend  across  the  page,  an  unusual  feature,  while 
others  approximate  in  size  to  some  of  the  large  paintings,  e.  g.,  the  figure 
of  Christ  on  folio  168  verso,  which  measures  80  X  108  mm.    The  subjects 


HOR.E  113 

are  the  four  Evangelists  (folios  16-19),  various  saints  (folios  44-54), 
Death  twice  depicted,  the  presumable  owner  of  the  manuscript  (folios 
193  r.  and  217  r.),  God  the  Father  (three  times),  Christ  (nine  times),  and 
various  angels.  On  folio  33  recto  the  Holy  Grail  is  depicted  on  the  open 
Tomb.  The  miniature  on  folio  178  verso  is,  in  subject,  part  of  the  large 
miniature  of  the  Last  Judgment  on  the  opposite  page.  This  treatment  is 
an  interesting  and  unusual  feature  of  the  present  manuscript,  which  is 
a  very  fine  example  of  calligraphy.  It  was  formerly  in  the  collections 
of  Morel  de  Vinde  and  the  Comte  de  La  Bedoyere, 

HOR^  BEAT^  MARI^  VIRGINIS  secundum  Usum 

ROMANUM.       S^C.     XVI. 

12mo,  old  white  morocco  tooled  in  a  Grolieresque  design  of 
interlacing  bands  and  arabesques  painted  in  colours.  In  the 
centre  of  the  front  cover  are  the  Spanish  towers  and  crown  of 
Charles  I  of  Spain  and  V  of  Germany  {b.  1500),  with  his 
motto y  *'Plus  ultray'*  which  is  repeated  on  the  painted  and 
gauffred  edges.  On  the  back  cover  are  stamped  in  gold  the 
crown  and  eagle  of  Maximilian  I  of  Germany  (d.  1519), 
silver  clasps.      In  the  original  slip  morocco  case. 

An  exquisite  little  Flemish  Book  of  Hours  in  gothic  characters  upon 
the  finest  of  abortive  vellum,  believed  to  have  been  executed  between  1500 
and  1519  by  command  of  Maximilian  I  for  presentation  to  his  grandson, 
Charles  V.    95  X  6G  mm. 

There  are  183  leaves,  including  13  for  the  Calendar,  and  a  preliminary 
leaf  containing  in  Latin  advice  from  the  Emperor  to  his  grandson: 
"Fear  God,  Assist  the  Poor,  Remember  thine  End."  Folios  2  and  3 
are  blank.  There  are  10  extremely  fine  miniatures  and  49  borders,  of 
which  43  are  composed  of  miniatures.  The  24  in  the  Calendar  repre- 
sent scenes  appropriate  to  the  months  and  the  zodiacal  signs,  on  the 
recto  of  the  pages.  Perhaps  the  most  interesting  of  these  scenes  are  in 
the  month  of  May;  on  the  verso  of  the  leaf  is  a  boating-party  with 
musicians  playing  the  mandolin  and  flageolet;  on  the  opposite  page 
is  a  river  scene  in  the  Netherlands  with  horsemen  in  the  foreground 
and  in  the  background  archers  aiming  at  a  mark  on  the  top  of  a 
windmill,  all  painted  with  great  delicacy.      Throughout  the  text  are 

8 


114  HOR^ 

15  large  floriated  initials  painted  in  camaieu  gris,  d^or  and  blue  on  a 
ground  of  colours  and  gold,  also  many  smaller  initials  delicately 
painted. 

The  subjects  of  the  miniatures  are  1.  (F.  17  v.)  The  Annunciation; 
in  the  border,  a  rural  scene  with  a  bird-catcher  in  the  foreground ;  on 
the  opposite  page,  Moses  and  the  Burning  Bush,  2.  (F.  45  v.)  The 
Visitation  of  Elizabeth ;  in  the  two  borders  are  games  of  ball,  archery, 
and  golf.  3.  (F.  63  v.)  The  Nativity,  remarkable  for  colour  and  draw- 
ing; in  the  border  is  a  view  of  Antwerp  Cathedral  and  the  Scheldt, 
with  a  mythological  contest  in  the  river;  on  the  opposite  page,  at- 
tached to  a  pillar  in  the  water,  is  an  escutcheon  bearing  the  device 
of  Charles  V,  "Plus  ultra."  4.  (F.  71  v.)  The  Announcement  to  the 
Shepherds ;  in  the  border  are  children  spinning  tops,  a  cathedral  in  the 
background;  on  the  opposite  page  is  a  hermit,  accompanied  by  his 
guardian  angel,  leaving  his  home  in  a  tree  to  fetch  water.  On  folio 
79  recto  is  a  red  border  containing  a  Latin  inscription  in  blue  letters. 
5.  (F.  86  v.)  The  Presentation  in  the  Temple;  in  the  borders  are 
boys  playing  at  skittles  and  rolling  hoops.  On  folio  94  recto  is  a 
border  representing  a  tournament,  two  ladies  looking  on  from  a  balcony 
from  which  hangs  a  wreath  of  victory.  Folio  106  recto  has  a  border  in 
camaieu  bleu  representing  angels  singing  evening  hymns.  6.  (F.  120  v.) 
King  David  praying;  in  the  background  a  castle,  in  the  border  children 
blowing  bubbles;  on  the  opposite  page,  David  killing  Goliath.  7.  (F. 
153  V.)  The  Mass  of  St.  Gregory;  within  a  unique  border  of  gold  and 
silver  ornaments  on  a  blue  ground.  On  folio  161  recto,  which  begins 
the  Indulgence  of  Pope  Sixtus,  is  an  elaborate  border  of  green  ornaments 
on  a  red  ground,  in  the  Italian  manner.  Folio  162  has  a  miniature  border 
containing  a  charming  rural  scene,  a  fox  among  the  poultry,  a  tame  owl 
on  a  perch.  8.  (F.  168  v.)  The  Pieta,  the  Virgin  accompanied  by  St. 
John  the  Evangelist;  the  borders  contain  Latin  inscriptions  in  camaieu 
d'or  on  a  light  green  ground.  9.  (172  v.)  Christ  showing  His  Wounds; 
in  the  border  a  Bishop  accompanied  by  two  Cardinals  is  displaying 
from  a  gallery  in  a  cathedral  the  Sacred  Sudarium  to  kneeling  worship- 
pers below;  another  devotional  scene  in  the  opposite  border.  10.  (F. 
180  V.)    The  Crucifixion;  in  the  borders  are  processions  of  Flagellantes. 

The  illuminations  in  this  manuscript  were  painted  by  the  same  artist 
that  executed  the  Bruges  Horoe  in  the  Royal  Library  of  Brussels.    They 


HOR^  115 

are  of  the  school  of  Memling,  remarkable  for  microscopic  detail  and 
delicacy  of  finish.  Aside  from  their  artistic  excellence,  they  are  interesting 
contributions  to  our  knowledge  of  the  games,  customs,  architecture, 
and  costumes  of  the  Netherlands  in  the  first  part  of  the  sixteenth  century. 

HOR^   BEATiE   MARI.E   VIRGINIS.     1524. 

Svo,  red  levant  morocco,  richly  tooled  *'a  roiseau,**  gilt 
back  and  dentelle  borders  on  the  sides,  gilt  edges,  by  Derome. 
In  a  modern  case  of  blue  levant  morocco. 

A  superb  French  Book  of  Hours  written  in  roman  characters  upon 
fine  vellum  presumably  by  Geofroy  Tory  in  1524,  according  to  the  date 
in  gold  letters  in  the  miniature  of  Job  on  folio  79  verso.    227  X  141  mm. 

There  are  113  leaves,  including  6  for  the  Calendar,  with  23  lines  to 
the  page,  and  58  illuminations  —  16  full-page  and  26  small  miniatures, 
with  16  richly  painted  borders  opposite  the  large  paintings,  composed 
of  flowers,  birds,  insects,  etc.,  in  brilliant  colours  on  a  gold  ground,  or  of 
scrolls,  figures,  grotesques,  and  elaborate  ornaments  in  the  Italian  manner 
painted  in  camaieu  d'or  or  gris  on  a  ground  of  red,  blue,  and  green. 

The  large  miniatures  are  in  rich  ornamental  borders  of  architectural 
design  in  camaieu  d'or  shaded  with  red.  Their  subjects  are  1.  (F.  7  v.) 
St.  John  the  Evangelist  on  Patmos.  2.  (F.  11  r.)  The  Agony  in  the 
Garden;  a  half-page  painting  executed  in  brilliant  colours.  3.  (F.  19  v.) 
The  Annunciation;  a  bed-room  scene.  4.  (F.  30  v.)  The  Virgin  and 
Child  appearing  as  a  vision  in  the  sky  to  a  group  of  court  ladies  and 
gentlemen  in  a  village  street;  an  original  scene  of  much  variety  and 
brilliancy,  substituted  for  the  usual  subject,  the  Visitation,  which  ac- 
companies the  Lauds.  5.  (F.  37  v.)  The  Nativity,  within  a  ruin.  6. 
(F.  40  V.)  The  Announcement  to  seven  Shepherds,  one  of  whom  is  a 
woman;  a  charming  landscape  with  ruins  in  the  background.  7.  (F, 
43  V.)    The  Adoration  of  the  Magi,  one  of  them  black ;  a  scene  of  ruins. 

8.  (F.  46  V.)  The  Presentation  in  the  Temple;  a  group  of  thirteen 
people,  the  women  brilliantly  garbed  in  sixteenth  century  costumes. 

9.  (F.  49  V.)  The  Flight  into  Egypt;  the  Massacre  of  the  Innocents  in 
the  background.  10.  (F.  53  v.)  The  Death  of  the  Virgin  Mary;  a  half- 
page  miniature  containing  the  twelve  Apostles  surrounding  the  Virgin's 
bed.  11.  (F.  60  r.)  Christ  bearing  the  Cross.  12.  (F.  62  v.)  The  De- 
scent of  the  Holy  Spirit.    13.  (F.  65  r.)    David  and  Bathsheba ;  a  court- 


116  HOR^ 

yard  scene  including  ten  persons.  14.  (F.  76  r.)  The  Raising  of 
Lazarus.  15.  (F.  79  v.)  Job,  with  his  Wife  and  three  Comforters.  16. 
(F.  112  r.)    The  Mass  of  St.  Gregory. 

Of  the  26  small  miniatures,  3  (ff.  8-10)  depict  Luke,  Matthew,  and 
Mark.  The  remaining  ones  are  chiefly  of  saints  (ff.  98-111) :  the  Virgin 
and  Child,  St.  Michael,  a  Guardian  Angel,  Sts.  John  the  Baptist  and  the 
Evangelist,  Sts.  Peter  and  Paul,  St.  James  the  Major,  St.  Andrew,  St. 
Stephen,  St.  Christopher,  St.  Laurence,  St.  Sebastian,  St.  Dionysius,  St. 
Anthony,  St.  Martin,  St.  Nicholas,  St.  Claudius,  St.  Roch,  St.  Anna, 
St.  Mary  Magdalene,  St.  Catherine,  St.  Margaret,  St.  Barbara. 

De  Bure,  who  compiled  the  catalogue  of  the  library  of  the  Due  de  La 
Valliere,  attributed  this  manuscript  to  an  Italian.  Other  bibliographers 
and  art  critics  have  ascribed  it  to  Clouet,  Lucas  van  Leyden,  and  Geofroy 
Tory.  Several  reasons  based  upon  comparative  study  of  this  volume 
and  the  editions  of  Tory's  Litres  d'Heures  make  it  probable  that  Tory 
was  the  artist.  The  strong  Italian  influence  in  the  paintings  is  accounted 
for  by  his  sojourns  in  Italy.  His  biographer,  Bernard,  records  that  after 
his  second  journey  to  that  country  in  1514,  he  established  himself  in 
Paris,  where  his  principal  resource  appears  to  have  been  painting  minia- 
tures in  manuscripts. 

The  reasons  for  ascribing  the  present  volume  to  Tory  are  1.  The 
text  is  identical  with  that  of  the  Livre  (THeures  published  by  him  and 
also  dated  1524.  2.  The  first  miniature  (St.  John  the  Evangelist  on 
Patmos)  is  engraved  in  Tory's  Heurcs  of  1543,  folio  8  verso.  3.  The 
beautiful  architectural  borders  surrounding  the  large  miniatures  are 
similar.  4.  In  the  painting  of  the  Annunciation  (f.  19  v.)  the  artist 
has  traced  very  lightly  on  the  prie-dieu  the  cross  of  Lorraine  with  which 
Tory  signed  his  engravings.  5.  The  date  "  1524 "  in  the  miniature  re- 
presenting Job  (f.  79  V.)  is  similar  in  design  to  the  "1526"  engraved  on 
wood  on  folio  111  of  Champfleury.  6.  In  the  painting  of  Christ  bearing 
the  Cross  (f.  60  r.)  is  a  warrior  with  a  shield  similar  to  that  in  Champ- 
fleury, 1529,  folio  3.  7.  In  the  Nativity  (f,  37  v.)  the  Virgin  has  the  same 
attitude  as  in  Tory's  small  Heurcs  of  1527,  page  2.  8,  There  is  a  general 
resemblance  between  the  antique  ruins  in  the  background,  the  shafts  of 
broken  columns,  the  half-destroyed  porticos,  etc.,  in  this  manuscript  and 
in  Tor}''s  wood  engravings. 

The  compositions  are  most  elaborate  and  original  in  treatment,  em- 
bracing many  figures  all  painted  with  the  utmost  delicacy.    The  colour- 


HOR^  117 

ing  is  fresh  and  rich,  the  calligraphy  exceedingly  neat,  and  the  vellum 
of  the  finest  and  whitest  possible. 

The  manuscript  was  formerly  in  the  Girardot  de  Prefond,  Gaignat, 
de  La  Valliere,  Hamilton,  and  Ashburnham  collections. 

HOR^   BEATyE   marine   VIRGINIS.     1537. 

Small  4to,  red  levant  morocco  tooled  in  a  mosaic  design  of 
compartments  in  dark  and  light  brown  morocco  outlined  in 
gold  and  ornamented  with  dots,  rosettes,  and  other  small  tools, 
doubled  with  red  morocco  tooled  in  borders  of  flowers  and 
leaves,  brown  moire  silk  guards,  gauffred  gilt  edges,  by  Joly. 
In  a  brown  levant  morocco  case. 

An  exquisite  Italian  Book  of  Hours  written  in  gothic  letters  upon  fine 
vellum  in  1537,  according  to  the  last  page,  "in  the  noble  house  and 
abbey  of  Saint  Amand  at  the  request  of  Maitre  Fran9ois  du  Guelin," 
(whose  presumable  arms  are  at  the  foot  of  the  page),  and  possibly  ex- 
ecuted for  a  member  of  the  Orleans  family,  as  the  Orleans  arms  are 
painted  at  the  foot  of  fourteen  pages.  The  inscription  on  the  last  page 
reads  "en  Ian  de  grace  mil  cinca  cent  trente  et  fept  font  efcriptes  ces  heures 
en  la  noble  maifon  et  abbaye  de  fainct  Amand  a  la  requefte  de  maiftre 
francois  du  guelin."    142  X  102  mm. 

According  to  this  inscription  and  the  Calendar,  which  is  also  in  French, 
the  manuscript  appears  to  have  been  made  for  use  in  France;  the  illu- 
minator was  evidently  either  a  pupil  of  Giulio  Clovio  or  an  artist  of  his 
school. 

The  volume  contains  143  leaves,  including  12  for  the  Calendar,  with 
16  lines  to  the  page.    Folio  13  is  blank. 

There  are  11  extremely  fine  and  brilliant  full-page  miniatures,  14 
borders  of  architectural  design  in  shaded  gold  and  bright  colours  intro- 
ducing figures,  8  floral  and  scroll  borders  (opposite  the  pages  containing 
miniatures)  painted  in  red  and  blue  heightened  with  gold,  and  nu- 
merous large  and  small  initial  letters  in  shaded  gold  on  a  ground  of  solid 
blue  or  in  blue  and  red  on  a  tracery  ground.  From  these  latter  issue 
marginal  ornaments  of  scrolls  similar  to  the  borders.  On  the  versos  of 
folios  32,  48,  65,  and  73,  the  marginal  decorations  contain  scrolls  with 
Latin  inscriptions ;  on  33  v.  and  59  r.  they  contain  the  date  1536.     At 


118  HOR.E 

the  foot  of  the  borders  on  61  v.  and  68  r.  are  Passional  emblems  painted 
to  resemble  escutcheons. 

The  subjects  of  the  miniatures  are  1.  (F.  14  v.)  The  Annunciation. 
2.  (F.  24  V.)  The  Visitation  of  Elizabeth;  a  hilly  landscape  in  the 
background.  3.  (F.  35  v.)  The  Announcement  to  the  Shepherds, 
who  are  seated  around  a  fire.  4.  (F.  40  v.)  The  Nativity;  the  stable 
is  composed  of  Roman  arches.  5.  (F.  45  v.)  The  Adoration  of  the 
Magi,  one  of  whom  is  black.  6.  (F.  50  r.)  The  Presentation  in  the 
Temple;  a  group  of  eight  persons.  7.  (F.  54  v.)  The  Flight  into 
Egypt;  the  Virgin  feeding  the  Child,  in  the  background  a  charming 
landscape.  8.  (F.  62  r.)  The  Coronation  of  the  Virgin  by  the  Trinity. 
9.  (F.  67  V.)  The  Crucifixion;  Mary  and  two  other  holy  women  at  the 
foot  of  the  Cross.  10.  (F.  75  v.)  King  David  praying.  11.  (F.  04  v.) 
An  interesting  subject  symbolical  of  Death,  beginning  the  "Vigilie 
defunctorum":  a  half -naked  man  kneeling  in  supplication  to  a  gaily 
dressed  man  playing  a  flute  and  two  women  playing  lutes ;  in  the  back- 
ground is  a  burning  building,  in  the  border  the  figure  of  Death,  a  grinning 
skeleton  in  a  black  robe. 

The  drawing  of  the  miniatures  and  of  the  designs  composing  the 
borders  is  in  the  best  Italian  taste  of  the  period. 

HORJE   BEAT^   MARI^  VIRGINIS.     1549. 

Hevres  de  Nostre  Dame  a  Ivsaige  de  Rome  escriptes  avdict 
liev.  Ian  M.D.XLIX.  par  M.  Franc.  Wydon.  et  dediees  a 
Messire  clavde  Dvrfe  Chevalier  D  lordre  dv  Roy  tres  chrestien 
et  son  ambassadevr  av  S  Siege  Apostoliqve.  Small  folioy  old 
red  morocco,  gilt  back,  gilt  edges,  by  Padeloup  (?) 

A  very  interesting  and  curious  French  Book  of  Hours  executed  in 
large  roman  characters  upon  vellum  in  1549  by  Francois  Wydon  for 
Claude  d'Urfe.    278  X  195  mm. 

There  are  85  leaves,  including  the  title,  with  23  lines  to  the  page. 
The  illuminations  consist  of  the  title,  the  arms  of  the  owner,  23  full-page 
miniatures,  5  historiated  initials  (55  X  55  mm.),  nearly  150  illuminated 
initials  in  gold  on  a  ground  of  blue,  green,  red,  yellow,  and  mauve,  and, 
on  every  page,  borders  of  silver  in  a  scroll  design  on  a  ground  of  mauve, 
with  tiny  scenes,  elliptical  in  form,  painted  at  the  top  and  bottom. 


HOR^  119 

The  title-page  represents  the  fa9ade  of  a  Corinthian  temple  painted 
in  yellow  and  mauve  heightened  with  gold.  The  text  is  written  in  the 
centre  in  letters  of  gold  on  a  mauve  ground.  In  the  frieze  is  written  in 
gold  letters:  "D  Clavd  Dvrfe  Reg.  Legat.  Dicatvm."  In  the  base  is  a 
medallion  portrait,  "Salvator  Mundi."  On  the  verso  of  the  folio  are 
the  arms  of  Claude  d'Urfe  in  gold  and  colours  above  a  Latin  inscription. 

The  large  miniatures  are  painted  in  an  unusual  style  in  bistre  (pre- 
senting the  effect  of  grisaille)  heightened  with  gold  and  delicate  colours. 
The  subjects  are  1.  (F.  2  r.)  A  sacrificial  altar  containing  a  burnt  offer- 
ing, with  the  legend  in  gold  letters,  "Uni  et  nunc  et  semper."  2.  (F. 
2  V.)  Janus  holding  the  key  to  the  Temples  of  Peace  and  War.  This 
is  the  first  of  seven  miniatures  accompanying  the  Calendar,  and  is  op- 
posite the  first  page  of  January.  In  the  upper  right-hand  corner  of  each 
of  these  paintings  is  a  sign  of  the  zodiac.  The  miniatures  accompany- 
ing five  of  the  months  appear  to  have  been  cut  out.  3.  (F.  5  v.)  Mars, 
holding  a  lance  in  his  right  hand,  a  shield  in  his  left;  opposite  March. 
4.  (F.  10  V.)  Europa  carried  to  Crete  by  the  Bull ;  opposite  July.  5, 
(F.  12  V.)  Pluto  carrying  Persephone  to  Hades;  opposite  August.  6. 
(F.  14  V.)  Vulcan  at  his  forge;  opposite  September.  7.  (F.  16  v.)  Bac- 
chus and  the  Bacchantes,  opposite  October.  8.  (F.  19  v.)  The  Temple 
of  Vesta;  opposite  December.  9.  (F.  29  v.)  The  Annunciation.  10. 
(F.  35  r.)  The  Visitation  of  Elizabeth;  a  group  of  seven  women,  of 
whom  one  bears  on  her  head  a  basket  containing  two  turtle-doves;  a 
landscape  with  a  church  in  the  background.  11,  (F.  41  r.)  The 
Nativity;  three  shepherds  presenting  a  lamb.  12.  (F.  43  v.)  The 
Announcement  to  the  Shepherds.  13.  (F.  45  v.)  The  Adoration  of 
the  Magi.  14.  (F.  47  v.)  The  Circumcision.  15.  (F.  49  v.)  The 
Flight  into  Egypt.  16.  (F.  53  v.)  The  Coronation  of  the  Virgin.  17. 
(F.  56  V.)  King  David  kneeling  to  receive  from  an  angel  a  sheaf,  an 
arrow,  and  a  death's  head;  his  army  in  the  background,  18.  (F.  62  v.) 
At  the  beginning  of  "Letaniae,  fine  fupplicationes  ad  deum  op,"  a  group 
of  six  dignitaries  kneeling  in  prayer  in  the  foreground,  the  principal 
figure,  according  to  the  arms  embroidered  on  his  cope,  being  that  of 
Leo  X  (d.  1521);  in  the  background,  hovering  over  the  Castle  of  St. 
Angelo,  the  Genius  of  War  is  replacing  his  sword  in  its  scabbard.  19. 
(F.  68  V.)  The  Raising  of  Lazarus.  20.  (F.  72  v.)  The  Pieta;  the 
Virgin  Mary  sitting  at  the  entrance  of  the  Tomb  with  Christ  on  her 
knees.    21.  (F.  77  r.)    The  Last  Judgment.    22.  (F.  80  r.)    The  Cruci- 


120  HOR.E  — HORATIUS  FLACCUS 

fixion  with  the  two  Thieves;  Jerusalem  in  the  background.  23.  (F. 
82  V.)    The  Descent  of  the  Holy  Spirit. 

The  5  historiated  initials  (between  ff.  21  and  24)  represent  the  four 
Evangelists  and  the  Agony  in  the  Garden. 

An  interesting  feature  of  this  manuscript  is  the  mingling  of  Christian 
with  pagan  feasts  in  the  Calendar,  e.  (jr.,  under  January  1  (f.  3  v.)  "Ce 
iour,  eft  folempnifee  la  circoncifion  de  noftre  feigneur,  lefu  chrift. 
Ancienement,  c'eftoyet  les  feftes  annuelles  de  lanus,  &  luno."  This 
fact  accounts  for  the  mythological  character  of  the  miniatures  in  this 
part  of  the  manuscript.  The  Calendar  contains  also  interesting  chrono- 
logical data:  under  February  23  (f.  4  v.),  "S.  Mathias,  apoftre.  A  tel 
iour,  &  Ian  mil.ccccc.  vous  naquiftes  monfeigneur,  Meffire  Claude 
D'urfe,  a  femblable  iour  auffi,  Ian.  1524,  fut  prins  a  Pauie  Francoys  de 
Valoys,  premier  de  ce  nom  Roy  de  France."  Under  May  6  (f.  8  r.)  "S. 
lehan,  dauant  la  porte  Latine.  Et  a  tel  iour,  1529,  fut  prife,  et  faccaigee 
la  ville  de  Rome,  par  le  Due  de  Bourbon."  Under  September  29  (f.  16  r.) 
"S.  Michel,  Archange.  Ce  iour  cy  Ian  1549,  vous  Monfeigneur,  Meffire. 
C.  D'urfe,  fuftez  apelle  au  fainct  college  de  Monf.  S.  Michel,  par  le  Roy 
nfe  Sire  Hery.  II.  et  faict,  et  cree  Cheualier  de  fon  ordre." 

This  manuscript  was  formerly  in  the  libraries  of  the  Due  de  La 
Valliere  and  Baron  de  La  Roche  Lacarelle. 

HORiE.  —  See  Officium. 

HORATIUS  FLACCUS,   Quintus. 

Poemata  cum  Commentario  Acronis.  Ssec.  XV.  Folioy 
original  vellum  wrappers,  gilt  edges.  In  a  brown  morocco 
case. 

An  Italian  manuscript  of  Horace's  Poems  written  in  the  beginning 
of  the  fifteenth  century  in  roman  characters  upon  vellum.  286  X 
194  mm. 

There  are  141  leaves,  including  a  frontispiece  on  saffron-coloured 
vellum  painted  in  the  style  of  Mantegna  in  cama'ieu  heightened  with  gold, 
and  representing  a  faun  and  a  satyr  playing  on  flutes  at  each  side  of  a 
tablet  bearing  in  letters  of  gold  "Q.  Oratii  Flacci  Venusini  Carminum 
liber  primus  incipit.    M.  Antonius  Maurocenus  Patricius  Venet.  sibi  et 


HORATIUS  FLACCUS  121 

suis  V.  F,"  This  inscription  indicates  that  the  manuscript  was  once  in 
the  library  of  Marc  Antonio  Morosini,  a  protector  of  Aldus,  who  dedi- 
cated to  him  his  edition  of  Lucan  published  in  1502.  Morosini's  arms  in 
gold  and  colours  are  in  the  lower  part  of  the  border  of  folio  2. 

The  text  has  30  lines  to  the  page  and  is  written  in  black  with  initials 
painted  in  blue;  explanatory  notes  in  Latin,  in  very  fine  cursive  hand- 
writing, are  between  the  widely  spaced  lines.  On  the  outer  margins  and 
occasionally  above  and  below  is  the  commentary  of  the  scholiast  Acron, 
also  written  in  small  characters  with  initial  letters  in  red. 

The  beginning  of  each  of  the  eleven  subdivisions  of  the  Poems  is 
written  in  uncial  letters  in  colours  and  burnished  gold.  There  are  11 
large  initial  letters  of  burnished  gold  on  an  elaborate  ground  of  scrolls  in 
white,  blue,  red,  and  bistre,  similar  in  design  to  the  six  beautiful  borders 
on  the  pages  beginning  the  main  divisions  of  the  volume ;  folio  2  r.,  "  Car- 
mina";  f.  56  r.,  "De  Arte  Poetica";  f.  64  v.,  "Epodon";  f.  76  r., 
"Carmen  Sseculare";  f.  78  r.,  "Epistolae";  f.  104  r.,  "Sermones." 
Folio  141  contains  the  Life  of  Horace  in  Latin. 

HORATIUS  FLACCUS,   Quintus. 

Q.  Horatii  Flacci  Venusini  Poemata.  Ssec.  XV.  Folio, 
purple  straight-grain  morocco,  back  and  side  borders  tooled 
in  fillets  and  scroll  ornaments,  vellum  linings,  gauffred  gilt 
edges,  by  Charles  Lewis.    In  a  case  of  green  morocco. 

A  fine  Italian  manuscript  of  Horace's  Poems  written  in  italic  char- 
acters upon  vellum  at  the  end  of  the  fifteenth  century.    302  X  194  mm. 

There  are  149  leaves,  with  28  lines  to  the  page,  6  beautiful  borders, 
and  11  historiated  initials,  all  painted  in  camaieu  bistre  heightened  with 
gold.  The  headings  of  the  main  divisions  of  the  volume  are  written  in 
uncial  letters  of  gold  and  colours,  the  subdivisions  are  in  colours,  with 
large  initials  in  blue. 

The  border  on  folio  1  is  the  most  elaborate  of  the  six,  being  of  archi- 
tectural design  in  camaieu  bistre  with  floral  ornaments  in  colours.  At 
the  foot  of  the  page,  supported  by  two  cupids,  are  painted  the  arms  of 
the  original  owner,  a  red  tower  on  a  blue  ground.  These  are  repeated 
in  camaieu  bistre  in  the  two  pedestals  of  the  border,  and  also  (in  colours) 
in  the  historiated  initial  on  folio  101  verso. 


122  JOSEPHUS 

The  remaining  five  borders  are  lateral  only,  of  an  elaborate,  highly 
finished  design  in  camaieu  bistre  on  a  light  green  or  mauve  ground. 

The  divisions  of  the  volume  are  1.  "Carmina,"  folio  1.  2.  "Epodes," 
folio  60  V.  3.  "Carmen  Sseculare,"  folio  73  r.  4.  "De  Arte  Poetica," 
folio  74  V.    5.  "Epistolae,"  folio  83  r.    6.  "Sermones,"  folio  110  v. 

The  manuscript  is  on  the  whitest  of  vellum,  with  wide  margins,  and 
exemplifies  one  of  the  best  styles  of  Italian  art. 

JOSEPHUS,  Flavius. 

Antiquitates  Judaicse  et  de  Bello  Judaico  libri.  [Ssec. 
XIII].  Imperial  4to,  two  volumes,  green  levant  morocco 
blind-tooled  in  panels ,  gilt  edges ,  by  The  Club  Bindery. 

A  superb  French  manuscript  written  in  clear,  beautiful  gothic  char- 
acters upon  vellum,  two  columns  to  the  page,  during  the  first  half  of  the 
thirteenth  century.    440  X  340  mm. 

Volume  I  contains  178  leaves.  Volume  II,  170,  making  348  in  all, 
with  42  lines  to  each  column.  In  Volume  I  are  3  borders  containing 
27  small  circular  miniatures  (ff.  1,  23,  and  97),  and  in  Volume  II  (f.  1) 
is  1  border  with  13  medallions  of  grotesques.  Each  volume  contains  12 
large  historiated  initials  (about  95  X  95  mm.)  in  from  one  to  four  com- 
partments, making  64  paintings  in  all.  The  colours  of  the  miniatures 
are  chiefly  blue,  red,  and  brown  on  a  ground  of  burnished  gold.  The 
heads  and  hands  of  all  the  figures  are  finely  and  delicately  drawn  with 
the  pen  and  lightly  coloured.  The  running  head-lines  and  capital  letters 
are  executed  in  red  and  blue. 

The  10  small  miniatures  in  the  border  on  the  first  page  of  Volume  I 
represent  God  the  Father,  the  seven  Days  of  Creation,  the  Temptation 
of  Adam  and  Eve,  and  the  Expulsion  from  the  Garden  of  Eden.  Other 
subjects  represented  are  the  Crucifixion,  the  Descent  from  the  Cross,  the 
Angel  and  the  Holy  Women  at  the  Tomb,  the  Resurrection  and  the 
Descent  into  Hell.     (II,  107-150). 

This  manuscript  was  formerly  in  a  Carthusian  monastery  at  Dijon 
and  later  in  the  Hamilton  collection. 

JOSEPHUS,   Flavius. 

[Colophon,  f.  307  r.]  Cy  finifl  le  xiiii^  liure  des  anciennetez 
des  Juifz  felon  la  fentence  de  Jofephe.    [XV  Siecle].    Folio, 


JOSEPHUS  128 

brown  morocco  covered  with  an  elaborate  geometrical  design 
of  fillets  with  azured  arabesques,  gilt  edges,  by  Clovis  Eve. 
In  a  modem  case  of  brown  levant  morocco. 

A  French  manuscript  written  in  the  latter  part  of  the  fifteenth  century, 
in  gothic  letters  (double  columns)  upon  fine  vellum,  with  13  large  minia- 
tures (220  X  178  mm.),  153  delicately  painted  and  illuminated  large 
initials,  some  with  short  marginal  decorations  of  flowers  on  a  gold  ground, 
and  many  hundred  smaller  capital  letters.    377  X  273  mm. 

There  are  308  leaves,  with  36  lines  to  the  page,  the  Prologue  occupy- 
ing the  first  two  folios,  with  an  historiated  initial  of  the  author  writing  the 
book.  The  beginning  of  the  text  is  lacking  and  presumably  the  first 
large  miniature,  as  each  of  the  following  thirteen  books  is  accompanied 
by  a  painting.  Folio  3  begins  "quant  Adam  la  vit  il  congnut  quelle 
auoit  efte  faicte  et  formee  de  lui." 

The  subjects  of  the  miniatures  are  1.  (F.  24)  Joseph's  brethren 
casting  him  into  the  pit;  the  Ishmaelites  on  their  camels  passing  by. 
2.  (F.  48)  Moses  leading  the  Children  of  Israel  out  of  Egypt.  3.  (F.  69) 
The  Punishment  of  the  Rebellion  of  Korah,  Dathan,  and  Abiram.  4. 
(F.  87  V.)  The  Fall  of  Jericho.  5.  (F.  109)  The  Death  of  King  Saul. 
6.  (F.  133  V.)  The  young  Amalekite  presenting  to  David  the  crown  and 
bracelet  of  King  Saul.  7.  (F.  161)  The  Building  of  the  Temple,  —  the 
same  painting,  with  slight  variations,  as  that  engraved  by  M.  Barrois  in 
his  " Bibliotheque  protypographique."  8.  (F.  191  v.)  The  Israelites  led 
captive  by  the  King  of  Assyria.  9.  (F.  211)  The  capture  of  Jerusalem 
by  the  army  of  Nebuchadnezzar,  King  of  Babylon,  and  the  burning  of 
the  Temple.  10.  (F.  228)  Artaxerxes,  King  of  Persia,  receiving  Ezra 
and  the  other  Israelites.  11.  (F.  245  v.)  Antiochus  (IV)  Epiphanes, 
King  of  Syria,  marching  upon  Jerusalem.  12.  (F.  268)  Johanan  Hyr- 
canus  besieging  Ptolemy  in  his  Castle  of  Dagon.  13.  (F.  290)  The  De- 
filement of  the  Temple  by  Crassus  in  his  war  against  the  Parthians. 

All  of  the  miniatures,  which  include  hundreds  of  personages  in  varied 
brilliant  costumes  and  armour,  are  remarkable  for  their  vigorous  draw- 
ing, lively  expression  of  face,  and  clear  and  glowing  colour. 

From  the  libraries  of  Nicholas  Joseph  Foucault,  John  Towneley  of 
Towneley,  and  Lord  Ashburnham. 


1 24  JOSHUA  —  JUVENAIJS 

JOSHUA,  JUDGES,  SAMUEL  AND  KINGS.  [About 
1460.] 
4<o,  original  oak  boards  covered  with  a  unique  Flemish 
binding  oj  repousse  silver  in  bold  relief,  especially  made  for 
the  volume  about  1600.  On  the  front  cover,  within  a  beaded 
border,  is  a  large  panel  containing  a  representation  of  Judah 
smiting  off  the  thumbs  and  toes  of  Adoni-bezeh,  the  Canaanitish 
king  (Judges  1:6);  on  the  back  cover  is  a  similar  panel 
depicting  the  killing  of  Sisera  by  Jael,  who  comes  out  to  meet 
Barak  and  the  other  Jewish  warriors  (Judges  4).  In  the 
corners  of  both  sides  are  heads  and  fruit.  On  the  back  are 
four  panels  in  very  fine  and  delicate  repousse  work  illustrating 
scenes  from  Joshua  II,  VI,  and  X :  Rahab  lowering  Joshua's 
two  spies  from  her  roof,  the  Fall  of  Jericho,  Joshua  hang- 
ing the  five  Kings  and  commanding  the  sun  to  stand  still. 
There  are  two  chased  silver  clasps. 

A  Hebrew  manuscript  of  six  books  of  the  Old  Testament  written  upon 
182  leaves  of  vellum  about  the  middle  of  the  fifteenth  century.  It  has 
two  columns  to  the  page  and  23  lines  to  the  column. 

JUVENALIS  AND  PERSIUS. 

Junii  Juvenalis  Aquinatis  et  Auli  Flacci  Persii  Satyrae. 
Ssec.  XV.  Folio,  dark  blue  levant  morocco  tooled  in  an 
elaborate  mosaic  design  of  olive,  maroon,  and  citron  morocco 
with  gold  ornaments  forming  borders  and  a  central  figure, 
doubled  with  vellum  richly  tooled  in  dentelle  borders,  gauffred 
gilt  edges,  by  Mercier.  In  a  case  of  brown  levant  morocco 
blind-tooled  and  lined  with  calfskin. 

A  beautiful  Italian  manuscript  of  the  Satires  of  Juvenal  and  Persius 
written  in  the  fifteenth  century  in  roman  characters  upon  83  vellum 
leaves,  with  28  lines  to  the  page.    223  X  180  mm. 

On  the  first  folio  is  an  elaborate  border  of  interlacing  white  scrolls  on 
a  ground  of  blue,  red,  and  green,  in  the  Italian  manner,  introducing 
cupids,  animals,  etc.,  and  divided  into  compartments  outlined  by  wide 


LIVRE  125 

fillets  of  burnished  gold.  At  the  foot  of  the  page,  supported  by  three 
cupids,  is  a  coat-of-arms,  —  a  sheaf  of  wheat  in  gold  on  a  blue  ground 
surrounded  by  a  laurel  wreath.  On  folio  71,  on  which  the  Satires  of 
Persius  begin,  is  a  side  border  of  similar  design  issuing  from  two  initial 
letters.  On  the  verso  of  folio  71,  surrounded  by  a  border,  is  a  beautiful 
full-page  painting  illustrative  of  the  Prologue  to  the  Satires  of  Persius. 
In  the  background  is  Pegasus  on  Mt.  Parnassus,  with  its  twin  peaks; 
in  the  foreground  stand  the  nine  Muses,  the  Daughters  of  Helicon,  sing- 
ing to  the  accompaniment  of  lutes  around  the  fountain  of  Pirene.  Over 
the  Grove  of  the  Muses  behind  them  hovers  an  angel  with  a  floral 
crown. 

Scattered  throughout  the  manuscript  are  22  large  initial  letters  in 
burnished  gold  on  a  ground  of  red  and  blue  decorated  with  white. 

On  folio  69  verso  is  written  "Bernardinuf  excribi  fecit  amicif  eq:  ac 
fibi,"  and  on  folio  83  recto,  "Angelus  fcripfit." 

LIVRE  des  Fais  Darmes  et  de  Cheuallerie  lequel  dit 
Livre  est  partis  en  Quatre  Parties.  [XV  Siecle].  Small 
folio,  old  dark  brown  mottled  calf  tooled  in  an  outline  border 
of  scrolls  and  dots,  gauffred  gilt  edges. 

A  French  manuscript  written  in  lettres  baiardes,  two  columns  to  the 
page,  upon  fine  vellum  during  the  early  part  of  the  fifteenth  century. 
282  X  190  mm. 

It  contains  136  leaves,  with  33  lines  to  each  column.  There  are  4 
half-page  miniatures  at  the  beginning  of  the  divisions  of  the  poem  sur- 
rounded by  borders,  the  last  3  of  which  are  composed  of  tracery  with 
burnished  gold  leaves  and  flowers  in  bright  colours.  The  first  border  and 
miniature  are  of  entirely  different  style  from  the  others,  and  were  evi- 
dently painted  by  a  different  artist.  This  border  is  composed  of  scrolls 
and  flowers  in  pale  colours,  with  two  monkeys  and  a  blank  escutcheon  at 
the  bottom.  The  miniature  is  also  in  subdued  tones.  There  are  4  large 
initial  letters  in  gold  and  colours  and  many  smaller  ones  in  blue  and  red 
on  a  tracery  ground  of  red  and  black. 

The  subjects  of  the  miniatures  are  1.  (F.  3  r.)  A  woman  suppliant 
kneeling  before  a  noble  lady,  who  is  seated  in  a  high-backed  chair,  with 
a  sceptre  in  her  hand;   the  scene  is  a  panelled  room.    2.  (F.  46  r.)  A 


126  LORRIS  —  LYDGATE 

noble  lady  seated  in  a  walled  garden  attended  by  a  lady-in-waiting,  re- 
ceiving three  courtiers  richly  clad  and  bearing  swords,  the  first  one 
carrying  also  a  halberd.  The  background  is  of  the  diaper  design  in  gold, 
red,  and  blue  characteristic  of  the  early  art  of  the  fifteenth  century. 
3.  (F.  82  V.)  Two  fully  armed  knights  about  to  fence  in  a  picketed  space 
within  a  walled  enclosure;  in  the  background  a  richly  canopied  bal- 
cony containing  seven  spectators.  4.  (F.  112  r.)  A  halberdier  leading  a 
courtier  and  his  wife  into  the  presence  of  a  nobleman. 

The  colouring  of  the  last  three  miniatures  is  of  unusual  freshness  and 
brilliancy.  All  of  the  paintings  contain  interesting  costumes  of  the 
period. 

LORRIS,    GuiLLAUME  DE.  —  See  de    Meunq    and    de 

LORRIS. 

LYDGATE,   John. 

The  Lyf  of  our  Lady  [Before  1431  ?].  8vo,  blue  straight- 
grain  morocco,  the  sides  and  back  gilt  and  blind-tooled  in 
borders,  gilt  edges,  by  Kalthoeber. 

An  English  manuscript  written  upon  vellum  presumably  during  the 
first  part  of  the  fifteenth  century.    221  X  155  mm. 

There  are  111  leaves,  with  from  26  to  29  lines  to  the  page.  Folios 
109-111  were  written  by  a  different  scribe  from  the  one  who  executed  the 
rest  of  the  manuscript.  On  the  first  three  pages  are  the  table,  "Thefe 
bene  the  notable  matiers  yat  bene  contynede  in  thys  booke,"  recording 
xxxvi  chapters,  instead  of  the  Ixxxii  arbitrary  divisions  made  by  Caxton 
in  his  undated  folio  edition.  The  Prologue  extends  from  folio  2  verso  to 
folio  3  verso,  upon  which  the  first  chapter  begins,  "The  Natiuite  of  oure 
lady." 

Each  division  of  the  poem  has  at  the  beginning  a  large  initial  letter  of 
burnished  gold  on  a  coloured  ground  with  floral  ornaments  extending 
into  the  margin.  The  chapter-headings  are  rubricated  and  there  are 
numerous  initial  letters  in  blue  and  red. 

Inserted  is  an  original  water-colour  portrait  of  Lydgate. 


MARTIALIS  —  MEUNG  127 

MARTIALIS,   Marcus   Valerius. 

M.  Valerii  Martialis  Epigrammaton  Libri  XII.  [F. 
176  v.]  Xenia,  ad  Musas.  [F.  182  r.]  Apophoreta,  ad 
Saturnum.  [Ssec.  XV].  Large  8vo,  red  morocco,  side  borders, 
centre  ornaments,  and  hack  tooled  in  a  Florentine  design  of 
broken  chains,  vellum  linings,  gilt  edges,  by  F.  Bedford.  In 
a  case  of  maroon  morocco. 

A  beautiful  manuscript  of  Martial's  Epigrams  written  in  italic  char- 
acters upon  194  leaves  of  vellum  in  the  latter  part  of  the  fifteenth  century, 
in  Italy,  for  an  Archbishop  of  the  Magalotti  family.     232  X  152  mm. 

The  text  of  the  first  page,  "M.  Valerii  Martialis  Epigramaton  Lib.  I. 
ad  Lectores  Epistola,  Spero  me  secuturum  in  Libellis  meis  tale  tempe,"  is 
written  in  letters  of  gold,  blue,  red,  green,  and  violet  within  an  elaborate 
architectural  border  containing  heads,  garlands,  fruits,  etc.,  painted  in 
blue,  rose,  green,  and  camaieu  d'or  on  a  ground  of  violet.  In  the  centre 
is  a  beautifully  painted  historiated  initial  "S,"  containing  a  Muse  and 
two  cupids  playing  a  lute,  a  flageolet,  and  a  tambourine.  On  each  side 
of  the  initial  letter  is  a  cupid  wearing  a  Cardinal's  hat  and  holding  a 
coat-of-arms.  There  are  13  other  beautifully  painted  historiated  ini- 
tials at  the  beginning  of  the  various  divisions  of  the  volume.  The 
headings  to  the  Epigrams  are  written  in  uncial  letters  of  red,  and  each 
Epigram  begins  with  a  large  initial  letter  in  blue. 

From  the  collection  of  Robert  Samuel  Turner. 

MEUNG,  Jehan  de,  and  Guillaume  de  LORRIS. 

[Folio  1]  Cy  comece  le  Rommant  de  la  Rofe  q  feift  maiftre 
Jeha  de  meun.  [et  Guillaume  de  Lorris.  Aussi  (Euvres 
diverses  de  Jehan  de  Meung.  XV  Siecle].  Folio,  old  green 
velvet,  with  corner-pieces  and  clasps  of  brass  and  a  monogram 
in  brass  in  the  centre  of  each  cover;  at  the  top  of  the  recto  is 
an  engraved  silver  plate,  probably  from  an  older  binding, 
with  the  inscription  '*Le  Roman  de  la  Rose,*'  gilt  edges.  In 
a  brown  morocco  case. 

A  very  fine  French  manuscript  of  the  Romance  of  the  Rose  written  by 
at  least  two  scribes  in  lettres  bdtardes,  two  columns  to  the  page,  upon 
fine  vellum  about  1475.     340  X  238  mm. 


128  MEUNG 

It  contains  202  leaves,  with  40  lines  to  the  column.  There  are  2  large 
miniatures  surrounded  by  full-page  floral  and  scroll  borders  in  colours 
heightened  with  gold,  the  one  on  the  first  page  introducing  figures,  and 
74  smaller  paintings  illustrating  the  poem  scattered  through  the  text. 
These  are  surrounded  by  borders  of  leaves  and  flowers  in  colours  ex- 
tending, in  most  instances,  around  the  columns  in  which  the  miniatures 
occur.    There  are  also  numerous  illuminated  initials. 

The  subjects  of  the  2  large  miniatures,  which  have  oval  tops  and 
measure  130  X  155  and  110  X  150  mm.,  are,  the  Poet  dreaming  of 
the  characters  in  his  Romance,  who  are  seen  in  procession  passing 
through  a  castle  (f.  1),  and  the  Poet  seated  at  a  writing-table  at  work  on 
his  "Testament"  (f.  151  r.). 

Among  the  subjects  of  the  74  small  miniatures  (ff.  2-143),  which 
measure  about  82-72  mm.,  are  allegorical  representations  of  Hate, 
Meanness,  Covetousness,  Avarice,  Pride,  Envy,  Old  Age,  Hypocrisy, 
and  Poverty  (f.  5),  the  Poet  beginning  his  poem  (f.  32  r.)  "Cy  commence 
le  Rommant  maiftre  Jehan  de  meun";  the  Wheel  of  Fortune  (fi'.  38  and 
47),  the  former  of  the  two  being  one  of  the  flnest  paintings  in  the  manu- 
script; Virginius  killing  his  daughter  (f.  43  v.);  the  Death  of  Dido 
(f.  95  r.),  and  Pygmalion  and  Galatea  (f.  143  v.). 

"Le  Roman  de  la  Rose"  occupies  folios  1-150.  On  the  recto  of 
folio  150,  after 

"Explicit  le  romant  de  la  rofe 
Ou  Tart  d'amours  eft  toute  eclofe," 
is  an  Epilogue  of  24  lines,  found  in  few  manuscripts,  beginning 
"Et  puis  que  je  fu  efueille 
Du  fonge  q  ma  traueille," 
and  ending 

"Que  tout  quan  ^  iay  recite 
Eft  fine  &  pure  verite." 

On  folio  151  is  the  "Testament  de  Jean  de  Meung,"  beginning  "Ly 
Peres  et  ly  Filz  et  ly  fains  Esperis."  On  folio  178  is  the  rare  "Songe 
rime"  of  one  hundred  and  thirty-six  lines,  "Jeftoie  lautre  iour  en  con- 
templacion";  ff.  180-200,  "Le  codicile  maiftre  iehan  de  meun,"  which 
in  most  manuscripts  is  entitled  "Tresor."  The  last  two  poems  begin 
"Dieux  ait  mercy  des  trefpassez"  (f.  200  v.)  and  "Miserere  de  functo- 
rum"  (f,  201  v.),  the  second  in  Latin. 


MINIATURE  PAINTINGS  129 

This  manuscript  was  formerly  in  the  collections  of  Le  Tellier,  Marquis 
de  Courtanvaux,  whose  stamp  is  on  the  first  and  last  pages.  Later  it 
was  in  the  library  of  Henri  Bordes. 

MINIATURE   PAINTINGS.     XIV-XV  Centuries. 

4/0,  brown  morocco  stamped  with  fleurs-de-lys  and  other 
ornaments,  carved  medallions  in  ivory  set  in  silver,  depicting 
the  Adoration  of  the  Magi  and  the  Crucifixion,  inserted  in 
the  centre  of  both  covers,  four  ivory  bosses  set  in  silver  in  the 
corners  of  each  cover,  silver  clasps,  gilt  edges.  In  a  brown 
morocco  case. 

A  fine  collection  of  32  large  historiated  and  floriated  initials  taken 
from  various  early  illuminated  vellum  manuscripts  and  mounted  upon 
black  cardboard. 

Among  the  subjects  are  a  group  of  Dominican  monks,  Sts.  Peter  and 
Paul,  St.  Mary  Magdalene,  St.  Paul  on  the  road  to  Damascus,  St.  Lau- 
rence, St.  Stephen,  and  St,  Vincent,  the  Virgin  and  Child,  the  Nativity, 
the  Assumption  of  the  Virgin,  King  David  praying,  the  Ascension,  four 
curious  paintings  of  the  Trinity,  and  Christ  surrounded  by  saints.  Eight 
of  the  illuminations  are  floriated  initials. 

MINIATURE   PAINTINGS.     XV  Century. 
4ito,  half  brown  morocco. 

A  volume  containing  8  large  miniatures  (117  X  73  mm.)  painted 
upon  vellum  and  surrounded  by  borders.  They  formed  part  of  a  fif- 
teenth century  Flemish  manuscript.  At  the  end  of  the  book  are  three 
vellum  leaves  of  manuscript  from  a  Psalter  written  in  small  gothic 
characters  in  two  columns,  also  3  large  illuminated  initials  and  an 
ornament. 

The  subjects  of  the  miniatures  are  the  Descent  of  the  Holy  Spirit, 
Christ  disputing  with  the  Doctors  in  the  Temple,  the  Resurrection  of 
the  Dead,  God  the  Father  receiving  Spirits  into  Glory,  the  Adoration  of 
the  Magi,  the  Presentation  in  the  Temple,  the  Announcement  to  the 
Shepherds,  the  Flight  into  Egypt. 


130  MINIATURE  PAINTINGS 

MINIATURE   PAINTINGS.     XV  Century. 

4to,  in  gilt  frames. 

Two  miniatures  delicately  painted  upon  vellum  (220  X  210  mm.) 
taken  from  a  French  manuscript,  "Les  Forteresses  de  la  Foi,"  executed 
in  the  middle  of  the  fifteenth  century. 

One  painting  represents  the  entrance  to  the  mystical  fortress  and 
the  Defenders  of  the  Faith  disputing  with  heresiarchs ;  the  other  shows 
the  entire  fortress  defended  by  ecclesiastical  authorities  and  theologians 
and  surrounded  by  heretics  attempting  to  undermine  the  foundations 
with  pickaxes.  These  original  conceptions  are  the  work  of  an  excellent 
artist. 

Formerly  in  the  Didot  collection. 

MINIATURE   PAINTING.     XV   Century. 
Large  folio,  in  an  ebonized  frame. 

A  beautifully  painted  historiated  initial  upon  vellum,  taken  from  a 
fifteenth  century  Spanish  manuscript.    590  X  405  mm. 

The  upper  part  of  the  painting  contains  a  representation  of  the  Resur- 
rection, below  which  are  two  bars  of  music  painted  in  gold  and  colours. 
In  the  border  immediately  surrounding  the  letter  are  6  small  minia- 
tures of  saints.  The  outer  borders  is  composed  of  cupids,  grotesques, 
scrolls,  birds,  etc.,  in  rich  colours  and  gold;  at  the  foot  of  the  page  is 
the  figure  of  a  saint  (75  X  75  mm.)  in  an  oval. 

MINIATURE   PAINTING.     XV   Century. 
4<o,  in  an  ebonized  frame. 

An  historiated  initial  taken  from  a  fifteenth  century  French  manu- 
script upon  vellum  (295  X  265  mm.)  depicting  God  the  Father  enthroned 
and  in  the  act  of  benediction.  The  border  is  painted  in  flowers  and 
scrolls  in  rich  colours  heightened  with  gold. 

MINIATURE   PAINTINGS.     XV  Century. 

4to,  in  carved  oak  frames. 

Two  historiated  initials  from  fifteenth  century  manuscripts  exquisitely 
painted  upon  vellum,  in  oval  form  within  rich  borders  of  flowers,  angels, 
grotesques,  etc.,  in  colours  heightened  with  gold. 


MINIATURE  PAINTINGS— MIROUER  HISTORIAL     131 

One  painting  (380  X  335  mm.)  represents  the  Martyrdom  of  St. 
John  the  EvangeHst,  who  stands  in  the  cauldron  of  boihng  oil  looking 
up  to  God  the  Father  in  the  sky;  six  men  are  bringing  faggots  and 
fanning  the  flames. 

The  other  painting  (385  X  340  mm.)  depicts  the  Presentation  in  the 
Temple,  a  group  of  ten  figures,  with  a  view  of  a  landscape  through  three 
windows.    The  top  of  the  miniature  contains  a  fine  architectural  design. 

MINIATURE  PAINTINGS.     XVI   Century. 
4to,  in  a  gilt  frame. 

Two  historiated  initials  from  sixteenth  century  French  manuscripts 
beautifully  painted  upon  vellum  (155  X  165  mm.),  representing  Christ 
and  the  Woman  of  Samaria  at  the  Well  and  the  Return  of  the  Prodigal 
Son.  They  are  oval  in  form,  within  borders  of  flowers,  etc.,  in  colours 
on  a  gold  ground.    In  both  paintings  fine  landscapes  are  introduced. 

MINIATURE   PAINTINGS.     XVI   Century. 

Small  4to,  crimson  velvet,  crimson  silk  linings,  gilt  edges. 

A  series  of  20  small  sixteenth  century  Italian  miniatures  exquisitely 
painted  and  inlaid  in  vellum  leaves,  within  gold  borders. 

The  subjects  are  the  Annunciation,  the  Nativity,  the  Adoration  of 
the  Magi,  the  Presentation  in  the  Temple,  the  Agony  in  the  Garden, 
the  Betrayal,  the  Platting  of  the  Crown  of  Thorns,  the  Scourging,  Christ 
bound  and  shown  to  the  people,  Christ  carrying  the  Cross,  the  Cruci- 
fixion, the  Descent  from  the  Cross,  the  Virgin  Mary,  St.  Mary  Magda- 
lene, St.  Catherine,  St.  Martha,  St.  Barbara,  St.  Dominick,  St.  Jerome, 
and  St.  John  the  Baptist. 

MIROUER  HISTORIAL  DE  FRANCE.    XV  Siecle. 

Small  folio,  old  calf  over  oak  boards,  tooled  in  fillets,  with 
brass  bosses,  corner  pieces,  and  clasps,  gilt  edges.  At  the  top 
of  the  front  cover  in  a  brass  border  under  isinglass  is  the 
title  in  gothic  characters,  "Ze  miroir  hyftorial  de  f ranee. ''^ 

A  beautiful  French  manuscript  executed  in  Latin  and  French  in 
gothic  characters  upon  132  leaves  of  fine  vellum,  with  33  lines  to  the 


132  MISSALE 

page,  for  a  Duke  of  Burgundy,  presumably  during  the  reign  of  Charles 
VII  (d.  1461)  or  of  Louis  XI  (1461-1483).    293  X  218  mm. 

There  are  5  large  half-page  miniatures  surrounded  by  delicately 
painted  borders  of  scrolls,  fruit,  flowers,  birds,  and  grotesques  in  gold 
and  colours,  36  historiated  initials  in  colours  and  burnished  gold  (about 
55  X  55  mm.),  and  numerous  large  and  small  illuminated  initials  and 
finials. 

On  all  of  the  pages  containing  large  miniatures  are  the  arms  of  a 
Duke  of  Burgundy,  possibly  Philippe   le  Bon    (1396-1467),   and    the 

device  "Nul  ne  si  [s'y]  frote,"  also,  on  folio  1,  the  initials  "N  C,  "  "U 

E>> J  <<  „  „  >> 
,    and     a  c. 

The  subjects  of  the  large  miniatures  are  1,  (F.  1  r.)  A  King  of 
France  (Louis  XI  ?)  receiving  an  angel;  the  scene  is  an  open  field 
in  which  grow  the  lilies  of  France.  2.  (F.  4  v.)  Pope  Innocent  IV  giv- 
ing Indulgences  to  various  kings.  3.  (F.  55  r.)  A  feast;  on  the  floor  of 
an  entry  outside  the  room  lies  a  man.  4.  (84  v.)  The  Tomb  of  Pepin 
with  his  eflBgy.  5.  (F.  117  r.)  The  Coronation  of  Hugues  Capet  at 
Reims. 

The  historiated  initials  represent  the  Kings  of  France  through  Charles 
V  (d.  1380).  The  Table  at  the  end  of  the  volume  records  the  death  of 
Charles  VII  in  1460  [1461]. 

The  miniatures  are  finely  painted. 

MISSALE.    S^c.   XV. 

Folio,  original  fifteenth  century  French  binding  of  calf 
tooled  in  fillets,  comer  ornaments,  and  centre  panels  in  the 
Aldine  manner,  arms  in  the  central  lozenge  on  both  sides, 
gilt  ornaments  including  fleurs-de-lys  on  the  back,  gilt  edges. 

A  French  Missal  beautifully  executed  in  large  gothic  characters  upon 
parchment  at  the  beginning  of  the  fifteenth  century.    338  X  233  mm. 

There  are  118  leaves,  with  11  and  15  lines  to  the  page,  folios  1-85  and 
86-117  being  written  in  characters  of  a  difTerent  size,  the  latter  part  in 
smaller  letters  with  initial  decorations  of  a  different  style.  Folio  118 
("Requiem")  contains  25  lines  to  the  page,  and  is  written  in  a  third 
variety  of  letter. 

The  illuminations  consist  of  6  large  historiated  initials  (about  70  X  70 
mm.)  accompanied  by  .bilateral  borders  of  flowers,  scrolls,  and  fruit,  in 


MISSEL  DE  CHARLES  VI  133 

colours  and  gold  on  a  ground  of  white,  dull  gold,  or  maroon  arranged  in 
compartments,  and  over  300  large  and  small  initial  letters.  Those  in  the 
first  part  of  the  book  are  chiefly  in  blue,  red,  and  burnished  gold  with 
conventional  ornamentation,  the  letter  beginning  the  Canon  of  the  Mass, 
"Te  igitur,"  ( f.  70  r.)  representing  a  cross  in  dull  gold  on  a  red  and  blue 
ground  elaborately  decorated,  and  measuring  90  X  85  mm.  The  initial 
letters  in  the  latter  part  of  the  volume  are  chiefly  in  blue,  rose,  and  green 
on  a  dull  gold  ground  with  floral  decoration. 

The  subjects  of  the  historiated  initials  are  1.  (F.  5  r.)  The  Nativity; 
in  the  border  on  this  page  are  the  figures  of  Christ  and  (presumably)  the 
person  for  whom  the  manuscript  was  executed.  At  the  foot  of  the  page 
are  his  arms  in  gold  and  colours  supported  by  two  angels.  2,  (F.  13  v.) 
The  Resurrection.  3.  (F.  18  r.)  The  Descent  of  the  Holy  Spirit.  4. 
(F.  27  r.)  The  Assumption  of  the  Virgin.  5.  (F.  35  v.)  The  Birth  of  the 
Virgin.  6.  (F.  43  r.)  The  Last  Judgment.  On  folios  54  verso  to  56  verso 
and  108  verso  to  113  verso  is  musical  notation,  —  sixteen  pages  in  all. 

MISSEL  DE  CHARLES  VI.    XV  Siecle. 

Folio,  hound  in  oak  boards  covered  with  old  brown  velvet, 
and  having  the  old  corner-pieces  and  clasps  of  silver  elabo- 
rately chased  after  the  manner  of  nielli,  representing  the  four 
Evangelists,  the  Annunciation,  and  the  Nativity,  and  bearing 
the  date  1610.  The  velvet  is  of  the  sixteenth  century,  and 
superceded  the  original  calf  covers,  now  applied  as  inside 
linings,  and  upon  which  are  partly  effaced  stamped  orna- 
ments and  centre-pieces  in  gold.  The  back  has  also  been 
recovered  with  brown  morocco;  the  edges  are  gilded.  In  a 
velvet-lined  oak  case,  with  brass  clasps. 

A  superb  French  manuscript  of  great  interest  and  value  independent  of 
its  origin  and  history,  having  been  written  and  illuminated  for  Charles 
VI,  King  of  France,  in  the  early  part  of  the  fifteenth  century.  The 
double  representation  of  the  Martyrdom  of  St.  Catherine  (folios  319  and 
330)  makes  it  presumable  that  it  was  executed  on  the  occasion  of  the 
marriage  of  Catherine  de  Valois,  his  youngest  daughter,  to  Henry  V  of 
England,  in  1420,  and  the  second  frontispiece,  containing  her  arms  and 
those  of  her  husband,  bears  out  this  theory. 


134  MISSEL  DE  CHARLES  VI 

The  text  is  written  in  gothic  characters,  in  double  columns,  upon  359 
leaves  of  finest  vellum,  now  as  fresh  and  unblemished  as  when  first  made. 
The  volume  measures  365  X  260  mm. 

There  are  2  frontispieces,  107  large  miniatures,  averaging  163  X  123 
mm.,  and  428  smaller  ones,  2  rectangular  ones  at  the  side  (65-70  X  45- 
53  mm.),  and  2  spherical  ones  (about  60  mm.  in  diameter)  at  the  foot  of 
each  page  containing  a  large  miniature  and  within  the  borders,  which  are 
richly  decorated  in  blue  and  gold  with  scrolls  and  flowers. 

The  first  of  the  two  frontispieces  represents  a  room  hung  with  blue 
material  covered  with  circular  ornaments  containing  alternately  the  in- 
itial "K"  and  a  fleur-de-lys;  in  the  centre  is  a  pillar  surmounted  by  an 
escutcheon  upheld  by  an  angel  bearing  the  arms  of  France,  and  a  red 
banderole  with  the  inscription,  "Karolus  VI,  Rex  Franciae."  To  the 
pedestal  of  the  pillar  is  attached  an  escutcheon  with  the  arms  of 
Charles  VI  and  his  wife,  Isabeau  de  Baviere.  To  two  other  pillars  are 
attached  (at  the  left)  the  arms  of  six  large  feudatories  of  the  crown,  the 
Dukes  of  Burgundy,  Aquitaine,  and  Normandy,  and  the  Counts  of  Flan- 
ders, Champagne,  and  Toulouse;  at  the  right,  those  of  six  ecclesiastical 
duchies,  Reims,  Langres,  Laon,  Beauvais,  Noyon,  and  Chalons.  The 
top  escutcheon  of  each  of  these  two  lateral  series  is  upheld  by  an  angel, 
and  attached  to  all  twelve  are  red  banderoles  bearing,  in  Latin,  in  letters 
of  gold,  the  designation  of  the  owner  of  each  coat-of-arms.  The  pillar, 
the  angels,  and  the  escutcheons  are  all  painted  in  camaieu  d'or. 

There  are  certain  indications  that  this  frontispiece  was  not  contempo- 
raneous with  the  rest  of  the  manuscript.  The  composition  is  of  the  style 
of  the  fifteenth  century,  but  the  execution  is  probably  of  the  seventeenth 
century  and  perhaps  a  copy  of  an  original  leaf,  which  may  have  become 
worn  in  protecting  the  rest  of  the  manuscript. 

The  second  frontispiece  contains  within  a  rich  border  a  painting  of  the 
Tabernacle  and  the  Holy  Sacrament  in  the  gothic  manner  in  camaieu 
d'or,  with  "L'Office  de  la  Messe"  at  the  foot.  The  border  is  in  com- 
partments in  scrolls  of  blue  and  gold,  and,  at  the  corners,  ornaments  of 
jewel-like  design  in  camaieu  d'or,  white,  and  green,  on  a  rose  ground.  At 
the  left  side  of  the  page  are  the  arms  of  Henry  V  of  England,  quartered 
with  those  of  France  and  England;  at  the  right,  the  arms  of  his  wife, 
Catherine  de  Valois.  In  the  margin  above  the  border  is  a  leaf-spray  in 
camaieu  d'or,  attached  to  which,  on  the  left  and  right  margins  of  the  page, 
are  chaplets,  the  one  ending  in  two  medals,  the  other  in  a  cross. 


MISSEL  DE  CHARLES  VI  135 

Although  the  border  of  this  second  frontispiece  is  painted  in  the  same 
manner  as  the  others,  this  leaf,  like  the  preceding  one,  was  undoubtedly 
added  to  the  volume.  Folios  3-5  contain  the  Table,  beginning  "  Ceft  la 
table  pour  trouuer  les  oflSces  chafcun  iour  par  ordre,"  and  ending  "Meffe 
de  faint  loys  roy  de  france."    The  paintings  begin  on  the  recto  of  folio  6. 

The  subjects  of  the  large  miniatures  are  1.  (F.  6  r.)  Christ's  entry  into 
Jerusalem.  2.  (F.  7  v.)  Christ  predicting  to  His  Disciples  the  Destruc- 
tion of  Jerusalem.  3.  (F.  9  r.)  Christ  receiving  the  two  Disciples  sent 
by  John  the  Baptist.  4.  (F.  160)  John  the  Baptist  talking  to  the  Levites 
sent  by  the  Jews  from  Jerusalem.  5.  (F.  22  r.)  The  Nativity.  6.  (F.  25r.) 
The  Circumcision.  7.  (F.  27  r.)  The  Adoration  of  the  Magi.  8.  (F. 
31  r.)  The  Miracle  at  the  Marriage  of  Cana.  9.  (F.  32  v.)  Christ  healing 
a  leper,  and  10.  (F.  35  v.)  giving  to  His  Disciples  the  Parable  of  the 
Labourers  in  the  Vineyard.  11.  (F.  38  r.)  Christ  describing  the  Last 
Judgment  to  His  Disciples,  12.  (F.  40  v.)  entering  Jerusalem  with  His 
Disciples,  13.  (F.  48  r.)  tempted  by  the  Devil.  14.  (F.  51  v.)  Christ 
teaching  in  the  streets  of  Jerusalem,  and  15.  (F.  56  r.)  going  to  Jeru- 
salem for  the  Feast  of  the  Passover.    16.  (F.  58  r.)  The  Transfiguration, 

17.  (F.  61  v.)  The  Woman  of  Canaan  before  Christ  and  His  Disciples. 

18.  (F.  66  r.)  Christ  and  His  Disciples  on  the  outskirts  of  Jerusalem.  19. 
(F.  67  V.)  Dives  and  Lazarus.  20.  (F.  71  r.)  The  Departure  of  the  Prodi- 
gal Son.  21.  (F.  74  r.)  Christ  healing  a  dumb  demoniac.  22.  (F.  76  r.) 
Christ  telling  the  Nazarites  that  a  prophet  is  not  without  honour  save  in 
his  own  country,  and  23.  (F,  81  r.)  healing  Peter's  mother-in-law.  24. 
(F.  82  V.)  Christ  and  the  Woman  of  Samaria.  25.  (F.  85  r.)  Christ  teach- 
ing in  the  Temple.  26.  (F.  88  v.)  Christ  and  His  Disciples  in  the  desert 
by  the  Sea  of  Galilee.  27.  (F.  93  v.)  Christ  heahng  a  blind  man,  and  28.  (F. 
96  V.)  raising  to  life  the  son  of  the  widow  of  Nain.  29.  (F.  98  v.)  The 
Resurrection  of  Lazarus.  30.  (F.  102  v.)  Christ  disputing  with  the  priests 
in  the  Synagogue.  31.  (F.  108  v.)  Mary,  the  sister  of  Lazarus,  anointing 
Christ's  feet.  32.  (F.  113  r.)  Mary  Magdalene  anointing  His  head,  and 
33.  (F.  119  V.)  His  feet.  34.  (F.  122  r.)  The  Last  Supper.  35.  (F.  127  r.) 
Judas  receiving  the  twelve  pieces  of  silver.  36.  (F.  133  v.)  Christ  at  table 
with  His  Disciples ;  the  four  small  miniatures  in  the  border  represent  the 
washing  of  their  feet.  37.  (F.  135  v.)  The  Crucifixion.  38.  (F.  153  r.) 
The  Resurrection.  39.  (F.  154  v.)  Christ  appearing  to  the  two  Disciples 
at  Emmaus,  40.  (F.  156  y.)  to  the  twelve  Apostles  at  Jerusalem,  and 
41.  (F.  158  V.)  to  His  Disciples  at  the  Sea  of  Tiberias.    42.  (F.  160  v.) 


136  MISSEL  DE  CHARLES  VI 

Mary  Magdalene  at  the  Tomb  which  is  guarded  by  two  Angels.  43.  (F. 
162  V.)  Christ  blessing  eleven  Apostles  at  Bethany.  44,  (F.  164  r.)  Mary 
Magdalene  at  the  empty  Tomb.  45.  (F.  165  v.)  The  Incredulity  of 
Thomas.  46.  (F.  175  r.)  The  Transfiguration.  47.  (F.  183  r.)  The  De- 
scent of  the  Holy  Spirit.  48.  (F.  189  v.)  Christ  in  the  midst  of  the  Doctors, 
and  49.  (F.  191  r.)  entering  Peter's  house.    50.  (F.  195  r.)  The  Trinity. 

51.  (F.  196  V.)  Dives  and  Lazarus;  a  different  composition  from  No.  19. 

52.  (F.  202  r.)  Christ  on  the  shore  of  the  Sea  of  Galilee,  53.  (F.  205  r.) 
giving  the  Parable  of  the  Loaves  and  Fishes,  and  54.  (F.  209  r.)  with 
His  Disciples  approaching  Jerusalem.  55.  (F.  212  r.)  Christ  healing  a 
deaf-mute,  and  56.  (F.  215  r.)  ten  lepers,  two  in  the  large  miniature,  the 
other  eight  in  the  four  small  paintings  in  the  border.  57.  (F.  218  r.)  Christ 
raising  the  son  of  the  widow  of  Nain ;  a  different  composition  from  No. 
28.  58.  (F.  220  v.)  Christ  healing  the  demoniac  child.  59.  (F.  223  r.) 
John  the  Baptist  (?)  led  by  soldiers  before  Herod  the  Tetrarch.  60.  (F. 
229  v.)  Christ  healing  a  sick  man.  61.  (F.  232  r.)  Jairus  asking  Christ's 
help,  and  the  woman  with  an  issue  of  blood.  62.  (F.  236  r.)  Christ  raising 
Jairus'  daughter,  and  63.  (F.  237  r.)  instructing  His  Disciples.  64.  (F. 
238  V.)  Zacchseus  in  the  sycamore  tree  watching  Christ.  65.  (F.  242  r.) 
The  Martyrdom  of  St.  Andrew.  66.  (F.  244  v.)  One  of  the  Apostles  re- 
ceiving money  from  a  rich  man.  67.  (F.  245  v.)  The  Martyrdom  of  St. 
Stephen.  68.  (F.  247  r.)  The  Miracles  of  St.  John  the  Evangelist.  69.  (F. 
248  V.)  Herod  ordering  the  Massacre  of  the  Innocents.  70.  (F.  253  v.) 
The  Martyrdom  of  St.  Sebastian.  71.  (F.  255  r.)  Christ  and  His  Disciples 
meeting  a  company  of  horsemen.  72.  (F.  256  r.)  St.  Paul  on  the  road  to 
Damascus.  73.  (F.  258  v.)  The  Circumcision.  74.  (F.  261  r.)  St.  Peter 
preaching.  75.  (F.  262  v.)  The  Descent  of  the  Holy  Spirit.  76.  (F.  264  v.) 
The  Annunciation.  77.  (F.  268  v.)  St.  Philip  the  Apostle  raising  those 
killed  by  the  Dragon.  78.  (F.  270  r.)  The  Emperor  Constantine,  at  the 
head  of  his  army,  going  to  receive  the  fragment  of  the  Holy  Cross  sent  by 
his  mother,  St.  Helena.  79.  (F.  272  r.)  The  Martyrdom  of  St.  John  the 
Evangelist.  80.  (F.  273  r.)  St.  Barnabas.  81.  (F.  276  r.)  The  Circum- 
cision of  John  the  Baptist.  82.  (F.  279  v.)  St.  Peter  and  St.  Paul.  83. 
(F.  284  r.)  St.  Margaret  led  before  Olybrius,  Governor  of  Antioch.  84. 
(F.  285  r.)  The  Appearance  of  Christ  to  Mary  Magdalene.  85.  (F.  287  r.) 
St.  James  the  Major  led  before  Herod  Agrippa.  86.  (F.  288  r.)  The  Mar- 
tyrdom of  St.  James  the  Major  and  one  of  his  converts,  before  Herod 
Agrippa.    87.  (F.  291  r.)  The  Martyrdom  of  St.  Laurence.    88.  (F.  293 


MISSEL  DE  CHARLES  VI  137 

V.  )  The  Death  of  the  Virgin.  89.  (F.  295  r.)  St.  Barthelemy.  90.  (F. 
297  r.)  Salome  bringing  the  head  of  John  the  Baptist  to  her  mother  and 
Herod.  91.  (F.  298  v.)  Sts.  Joachim  and  Anna  offering  a  lamb  in  the 
Temple.  92.  (F.  300  v.)  The  Emperor  Heraclius  carrying  to  Con- 
stantinople the  part  of  the  Cross  left  at  Jerusalem  by  St.  Helena.  93, 
(F.  303  r.  )  St.  Matthew  putting  to  flight  two  dragons  evoked  by  magi- 
cians. 94.  (F.  304  r.)  St.  Maurice  and  the  Theban  legion  summoned 
before  the  Emperor  Maximin.  95.  (F.  305  v.)  St.  Michael  slaying  the 
Dragon.  96.  (F.  308  r.)  St.  Francis  of  Assisi  receiving  the  Stigmata. 
97.  (F.  309  r.)  The  Martyrdom  of  St.  Denis  (Dionysius)  and  his  compan- 
ions. 98.  (F.  310  r.)  St.  Luke.  99.  (F.  312  r.)  St.  Simon  the  Apostle. 
100.  (F.  314  V.)  All  Saints.  101.  (F.  316  r.)  A  Burial  Service.  102.  (F. 
317  V.)  St.  Martin  of  Tours.  103.  (F.  319  v.)  St.  Catherine  and  her 
attributes.  104.  (F.  320  v.)  St.  Paul  the  Apostle  writing  the  Letter  to  the 
Ephesians  and  young  men  reading  it  (two  compartments).  105.  (F.  322 
V.)  A  group  of  Saints.  106.  (F.  326  v.)  Two  Saints,  a  man  and  a  woman, 
reading  sacred  books  (two  compartments).  107.  (F.  330  r.)  The  Martyr- 
dom of  St.  Catherine. 

The  small  miniatures  occasionally,  but  not  always,  refer  to  the  subject 
of  the  large  paintings,  as  on  folio  218,  where  four  scenes  from  the  miracle 
of  the  raising  of  the  widow's  son  are  depicted,  explanatory  of  the  large 
miniature.  When  the  large  paintings  bear  no  relation  to  the  text,  the 
small  ones  relate  to  that  part  of  the  Old  Testament  which  corresponds  to 
the  Office  of  the  day. 

The  miniatures  taken  together  form  an  almost  complete  iconography 
of  the  New  Testament,  with  many  scenes  from  the  lives  of  the  Saints, 
which  are  possibly  unique.  As  a  rule  in  manuscripts  the  Saints  are 
represented  only  with  their  attributes ;  here  the  actual  scene  of  martyr- 
dom is  often  depicted. 

At  least  three  artists,  of  different  talents,  painted  the  beautiful  minia- 
tures in  this  manuscript,  and  one  of  them,  with  the  brilliant  quality  of  the 
school  of  Touraine,  preceding  Jehan  Foucquet,  did  most  of  the  work. 
The  difference  in  manner  may  easily  be  seen  by  comparing  the  minia- 
tures on  folios  108,  189,  205,  209,  215,  and  220,  with  those  on  folios  195 
and  304,  where  the  influence  is  undoubtedly  Flemish.  Every  miniature  is 
a  finished  painting,  full  of  life  and  movement,  well  conceived,  well  or- 
dered, and  showing  marvellous  intelligence  in  composition  for  work  of 
this  period.    Each  figure  has  a  distinct  physiognomy  of  its  own  and  an 


\ 


138  MISSALE  ECCLESI.E  TURONENSIS 

attitude  appropriate  to  its  role.  The  heads,  which  are  expressive  and 
natural,  are  in  general  studied  with  much  care.  The  knowledge  of 
technique  is  wonderful,  especially  in  the  representation  of  the  nude,  in 
foreshortening,  and  in  perspective.  The  landscapes  are  charmingly  pic- 
turesque, and  the  costumes,  armour,  furniture,  and  architecture  of  the 
period,  both  exterior  and  interior,  faithfully  represented.  Many  of  the 
small  miniatures  are  quaint  in  design  and  show  the  free  imagination  of 
the  artist,  e.  g.,  on  folio  158  two  apostles  are  represented  as  grilling  a 
fish,  and  on  folio  198  a  devil  is  carrying  away  in  a  wheelbarrow  the  soul  of 
Dives.    Several  of  the  miniatures  are  in  camdieu  (Tor. 

The  colouring  throughout  is  striking  but  harmonious,  gold  being  freely 
employed.  Christ  is  always  represented  in  a  robe  of  reddish  gold,  aureis 
rutilans. 

The  text,  with  rubricated  headings  and  innumerable  large  and  small 
initials  in  gold  and  colours,  is  entirely  in  French,  except  for  the  first 
words  of  prayers,  epistles,  gospels,  etc.,  which  are  in  Latin. 

The  royal  origin  of  the  volume  is  repeatedly  attested  to  by  the  frequent 
presence  of  fleurs-de-lys  and  heraldic  emblems,  e.  g.,  in  the  first  small 
miniature  on  folio  25  recto  are  the  arms  of  France  and  Bavaria,  in 
cama'ieu  (Tor,  painted  on  the  side  of  a  prie-dieu;  on  folio  66  recto  is  a 
small  miniature  of  a  king  with  a  crown  of  fleurs-de-lys,  kneeling  before  a 
prie-dieu  on  which  are  the  arms  of  France. 

After  the  death  of  Queen  Catherine,  in  1438,  this  manuscript  became 
the  property  of  her  son,  Henry  VI,  and  was  placed  in  Whitehall.  After 
the  schism  under  Henry  VIII  it  was  transported  to  Antwerp  by  a  man 
named  Gilles  and  sold,  in  1545,  to  the  Abbey  of  Tongerloo  by  the  heirs  of 
Jean  Legrand,  with  a  copy  of  the  Last  Supper  painted  by  Leonardo  da 
Vinci  for  Henry  VIII.  There  it  remained  until  1869,  when  it  passed  into 
the  hands  of  Ambroise  Firmin-Didot,  and  thence  to  the  Countess  Mnis- 
zeck,  step-daughter  of  Balzac,  who  died  in  1887. 

MISSALE  ECCLESI^  TURONENSIS.     S^c.    XVI. 

Folio,  old  crimson  velvet,  vellum  linings,  gauffred  gilt 
edges.    In  a  brown  morocco  case  lined  with  crimson  satin. 

A  superb  French  Missal  written  upon  fine  vellum  in  beautiful  gothic 
characters,  two  columns  to  the  page,  at  the  beginning  of  the  sixteenth  cen- 
tury, for  use  in  the  church  of  Tours,  possibly  by  the  Lalement  family  of 


MISSALE  ECCLESI^  TURONENSIS  139 

the  province  of  Berry,  near  Touraine,  whose  probable  arms  are  painted 
at  the  foot  of  the  borders  surrounding  the  large  miniatures  on  folios  8  and 
50  and  in  six  of  the  small  miniatures.    346  X  230  mm. 

The  volume  contains  169  leaves,  including  2  for  the  Index,  and  the 
text  has  30  lines  to  the  page.  Folios  4,  84,  106,  111,  112,  152,  153,  and 
154  are  blank.  There  are  5  large  and  19  small  miniatures  surrounded  by 
rich  and  elaborate  Italian  Renaissance  borders  in  camaieu  (Tor  and  blue 
on  a  ground  of  blue  and  gold.  The  pages  containing  the  large  minia- 
tures have  the  outer  margins  of  the  borders  finished  in  black.  There  are 
numerous  elaborately  illuminated  initial  letters  in  floral  and  scroll  designs. 

The  subjects  of  the  large  miniatures  are  1.  (F.  8  r.)  The  Nativity;  a 
half-page  pointing  of  the  Infant  Christ  in  a  cradle  filled  with  straw,  sur- 
rounded by  six  angels  painted  in  blue;  above  hover  six  more  angels  in 
rose ;  Joseph  and  Mary  kneel  on  each  side,  two  shepherds  are  on  the  right 
outside  the  dilapidated  stable,  two  on  the  left,  and  two  in  the  distance  re- 
ceiving the  Announcement  from  an  Angel.  2.  (F.  50  v.)  The  Resurrec- 
tion, a  half-page  painting  in  which  Christ  in  a  blaze  of  glory  appears  to 
three  soldiers  clad  in  rich  armour  who  are  seated  on  the  ground  outside 
the  rock- tomb.  The  border  on  this  page  is  especially  elaborate,  intro- 
ducing angels  playing  lutes  and  highly  ornamental  vases  in  blue  and 
camaieu  d'or.  3.  (F.  59  r.)  The  Descent  of  the  Holy  Spirit;  of  half-page 
size  and  surrounded  by  an  architectural  border  in  camaieu  d'or  on  a 
ground  of  blue  and  bistre.  4.  (F.  85  v.)  Preparations  for  the  Crucifixion ; 
a  superb  full-page  miniature  depicting  Christ  sitting  on  a  rock,  bound 
and  crowned  with  thorns ;  a  workman  near  by  is  completing  the  Cross, 
the  two  thieves,  bound,  stand  at  the  foot  of  the  other  two  crosses ;  in  the 
foreground  are  soldiers  and  the  Virgin  Mary  supported  by  holy  women 
and  the  Beloved  Disciple.  There  are  34  figures  in  all.  5.  (F.  86  r.)  The 
Crucifixion;  a  full-page  miniature  serving  as  pendant  to  the  one  pre- 
ceding. At  the  foot  of  the  three  crosses  are  the  holy  women,  one  of  whom 
supports  on  her  knees  the  fainting  Virgin,  and  the  soldiers  casting  lots,  in 
the  background  are  more  soldiers,  on  foot  and  on  horseback,  in  the  dis- 
tance is  Jerusalem  surrounded  by  blue  hills. 

The  subjects  of  the  small  miniatures  (about  85  X  60  mm.)  are  1. 
(F.  5  r.)  The  Announcement  to  the  Shepherds;  a  night-scene  of  great 
beauty.  2.  (F.  10  r.)  The  Circumcision;  the  High  Priest,  with  the  Infant 
Christ  on  his  knee,  is  surrounded  by  several  persons.  3.  (F.  11  r.)  The 
Adoration  of  the  Magi.    4.  (F.  13  r.)  Christ's  Entry  into  Jerusalem.    5. 


140  MISSALE 

(F.  52  r.)  The  Tnansfiguration.  6.  (F.  61  r.)  God  the  Father  in  celestial 
Gloiy.  7.  (F.  63  r.)  The  Last  Supper.  8.  (F.  99  r.)  An  historiated  initial 
(50  X  50  mm.)  "T"  beginning  the  Canon  of  the  Mass,  "Te  igitur,"  con- 
taining a  half-length  figure  of  Christ  bound  and  crowned  with  thorns.  In 
the  margin  are  painted  the  symbols  of  the  Passion,  the  division  between 
the  two  columns  of  text  being  the  lower  part  of  the  cross.  9.  (F.  115  v.) 
St.  Gatien,  the  first  Bishop  of  Tours,  preaching.  10.  (F.  117  r.)  The  Mar- 
tyrdom of  St.  Stephen.  11.  (F.  119  v.)  The  Presentation  in  the  Temple. 
1*2.  (F.  121  V.)  The  Annunciation;  a  charming  miniature  in  which  both 
figures  are  standing.  13.  (F.  125  r.)  The  Birth  of  St.  John  the  Baptist. 
14.  (F.  131  r.)  The.Assumption  of  the  Virgin.  15.  (F.  132  v.)  The  Birth 
of  the  Virgin  Mary;  a  beautiful  interior  with  a  large  fire-place  and  six 
figures.  16.  (F.  136  v.)  St.  Maurice  and  his  warriors.  17.  (F.  141  r.) 
St.  John  the  Evangelist  on  Patmos;  in  the  sky  Christ  in  His  glory  sur- 
rounded by  all  the  saints.  18.  (F.  143  r.)  The  Raising  of  Lazarus.  19. 
(F.  144  r.)  St.  Martin  of  Tours  dividing  his  cloak  with  the  beggar. 

The  illuminations  in  this  manuscript  are  of  the  first  order  of  merit, 
superbly  drawn,  and  remarkable  for  purity  of  design  and  composition, 
vigour  of  execution,  and  brilliancy  of  colour.  They  are  examples  of  the 
best  work  of  the  school  of  Touraine,  and  were  possibly  painted  in  part 
by  Jehan  Foucquet,  the  characteristics  of  whose  art  they  possess,  viz., 
variety  in  physiognomy,  predilection  for  landscapes  with  rich  architec- 
tural designs,  knowledge  of  linear  and  aerial  perspective,  and  luminous 
colouring.  The  manuscript  as  a  whole  is  one  of  the  finest  possible  ex- 
amples of  the  calligraphy  and  art  of  the  period  in  which  it  was  executed. 

On  folios  87-96,  102-103,  and  109-110  is  music-score.  The  rubrics 
on  folios  50  and  76  verso  read,  "  In  ecclesia  Touronensis."  Further  evi- 
dence that  the  Missal  was  intended  for  use  in  Tours  is  found  in  the  fact 
that  Saint  Monegonde,  a  recluse  of  Tours,  is  mentioned  in  the  Litany  of 
the  Saints. 

From  the  library  of  Ambroise  Firmin-Didot. 

MISSALE.     S^c.   XVI. 

Folio,  brown  levant  morocco,  Janseniste,  vellum  linings^ 
gilt  edges,  by  Chambolle-Duru. 

A  Spanish  Missal  executed  in  very  large  gothic  characters  of  black 
and  red  upon  175  leaves  of  vellum  during  the  first  half  of  the  sixteenth 


MUSIC-SCORE  141 

century,  presumably  by  Jesuit  monks  for  Francisco  Borgia  (b.  1510), 
Vicar  General  of  the  Jesuit  order  in  Spain  and  Portugal  from  1545-65, 
whose  name,  "Divo  Fr.  Borgia,"  appears  in  a  medallion  on  the  inner 
margin  of  the  full-page  border  on  folio  63  recto.    376  X  275  mm. 

The  text  has  11  lines  to  the  page,  folios  62,  87,  and  88  are  blank,  and 
a  leaf  containing  an  Index  is  prefixed.  There  is  1  historiated  initial  of 
the  crucified  Christ  (an  oval  50  X  38  mm.)  at  the  beginning  of  the 
Canon  of  the  Mass  (folio  117  r.),  surrounded  by  a  floral  border  in  colours 
on  a  ground  of  burnished  gold,  with  marginal  decorations,  an  elaborate 
full-page  border  with  4  small  miniatures  in  the  corners,  119  large  gold 
and  coloured  initials  (from  32  X  32  to  90  X  90  mm.)  and  220  smaller 
capitals  in  gold  on  a  ground  of  colours. 

The  full-page  border  is  composed  of  flowers  and  scrolls  in  blue,  red, 
green,  and  gold,  on  a  white  ground,  a  cardinal's  arms  at  the  foot,  on  the 
inner  margin  Borgia's  name  in  black  on  a  gold  ground,  at  the  beginning 
of  the  text  a  large  historiated  *'R"  in  colours  and  burnished  gold  (180  X 
135  mm.)  containing  a  bull  in  red  surmounted  by  a  gold  crown.  This 
device  appears  also  in  arms  at  the  top  of  the  page,  and  in  sepia  on  a 
black  ground  in  the  centre  of  the  initial  on  folio  1. 

Beginning  with  folio  141  verso  the  work  of  a  second  scribe  and  illumi- 
nator is  apparent,  and  from  this  point  on  the  initials  are  painted  in  blue 
on  a  tracery  ground  of  red.  On  folios  6-10,  112-116,  127-129,  131,  and 
147-152  is  music-score. 

MUSIC-SCORE.     Before  1559. 

Oblong  4to,  brown  morocco  covered  with  a  beautiful  Gro- 
lieresque  design  of  interlacing  bands  and  arabesques  painted 
blacky  ivory,  green,  and  blue  outlined  in  gold,  the  arms  and 
crowned  "jff "  of  Henri  II  and  the  crescents  and  monogram 
of  Diane  de  Poitiers  in  gold  and  silver  in  the  centre  of  the 
recto,  the  word  "Bassus"  in  gold  letters  on  a  black  cartouche 
on  the  verso,  gilt  and  silver  back,  edges  gilt  and  gauffred  in 
an  elaborate  design.    In  a  purple  velvet  case. 

A  sixteenth  century  French  manuscript  of  the  basso  part  of  several 
pieces  of  Church  music  in  Latin  and  French,  written  in  gothic  characters 
of  black  and  red  upon  138  leaves  of  paper.    150  X  204  mm. 


142  OFFICIUM  BEAT.E  MARI^  VIRGINIS 

The  verso  of  the  first  folio  contains  the  initial  letter  "B"  elaborately 
painted  in  scrolls  of  blue  and  brown  with  the  remaining  letters  of  the 
word  "Bassus"  in  red  in  the  centre.  Similar  ornaments  in  various 
colours  occur  throughout  the  volume.  Folios  2-5  contain  Tabula.  On 
page  1G8  are  "Chansons  a  quatre  parties  Josquin  Baston." 

From  the  collection  of  L.  Double  and  sold  at  the  dispersion  of  his 
library  as  having  belonged  to  Diane  de  Poitiers.  There  have  since  been 
doubts  as  to  the  genuineness  of  the  arms  and  monogram  on  the  front 
cover,  but  the  binding  is  of  the  period  of  Henri  II  and  a  very  fine  ex- 
ample. 

OFFICIUM  BEAT^  MARINE  VIRGINIS.     S^c.  XV. 

Small  4to,  old  green  silky  gilt  edges.  In  an  old  case  of 
green  morocco  tooled  in  gilt. 

A  Flemish  Office  of  the  Virgin  written  at  the  beginning  of  the  fifteenth 
century  in  gothic  characters  upon  vellum.    128  X  91  mm. 

It  contains  186  leaves,  including  12  for  the  Calendar,  and  the  text  has 
18  lines  to  the  page.  There  are  15  large  miniatures,  30  borders,  and 
numerous  large  and  small  initial  letters  in  burnished  gold  on  a  coloured 
ground  or  in  blue  and  gold  on  a  tracery  ground  of  red  and  black  with 
flourishes  extending  into  the  margins.  The  borders,  which  are  around 
the  miniatures  and  on  the  opposite  pages,  are  composed  of  flowers,  fruit, 
scrolls,  and  birds  in  brilliant  colours  heightened  with  gold. 

The  subjects  of  the  miniatures,  which  are  all  on  the  verso  of  the  leaves, 
are  1.  (F.  13)  The  Crucifixion.  2.  (F.  20)  The  Descent  of  the  Holy 
Spirit.  3.  (F.  26)  The  Virgin  and  Child  ministered  to  by  three  Angels. 
4.  (F.  36)  The  Annunciation.  5.  (F.  53)  The  Visitation  of  Elizabeth. 
6.  (F.  64)  The  Nativity.  7.  (F.  69)  The  Announcement  to  the  Shep- 
herds. 8.  (F.  74)  The  Adoration  of  the  Magi.  9.  (F.  79)  The  Presenta- 
tion in  the  Temple.  10.  (F.  84)  The  Massacre  of  the  Innocents ;  Herod 
enthroned  watching  the  slaughter.  11.  (F.  92)  The  Flight  into  Eg}'pt. 
12.  (F.  98)  The  Coronation  of  the  Virgin.  13.  (F.  107)  King  David 
praying  within  a  walled  garden.  14.  (F.  126)  A  Burial  Service  in  a 
chapel.    15.  (F.  164)  St.  Jerome. 

The  drawing  is  somewhat  stiff  and  formal,  but  the  compositions  are 
original  in  design  and  the  colouring  fresh  and  bright. 


OFFICIUM  BEAT^  MARI^  VIRGINIS  143 

OFFICIUM  BEATiE   MARIJ^  VIRGINIS.    S^c.  XV. 

Small  Mo,  russia,  the  sides  and  back  blind-tooled  in  panels 
with  gilt  fillets,  gilt  edges. 

A  Flemish  Office  of  the  Virgin  written  in  the  fifteenth  century  in 
gothic  letters  upon  fine  vellum.    117  X  84  mm. 

There  are  139  leaves,  with  17  lines  to  the  page,  16  beautiful  trilateral 
and  4  quadrilateral  borders  composed  of  brilliant  flowers,  insects,  birds, 
monkeys,  and  scrolls  in  camaieu  d'or  on  a  ground  of  dull  gold,  grey,  light 
green,  red,  and  blue.  They  are  remarkable  for  variety  of  design  and 
freshness  of  colour.  Throughout  the  text  are  numerous  small  initial  let- 
ters in  camaieu  gris  on  a  ground  of  camaieu  d'or,  and  24  large  capitals  in 
blue  on  a  red  ground  elaborately  decorated  in  gold. 

There  is  no  Calendar,  and  the  prayers  for  special  saints  precede  the 
Lessons  from  the  Four  Gospels  and  the  Hours  proper,  instead  of  follow- 
ing the  Penitential  Psalms  and  the  Litany. 

OFFICIUM  BEAT.E  MARI^  VIRGINIS.     S^c.  XV. 

Beate  Marie  Virginis  secundum  usum  et  consuetudinem 
Romane  Curie.  [Folio  270]  Officium  de  Passione  domini 
Jesu  Christi.  [Folio  322]  Officium  sancti  angeli  custodis. 
[Folio  354]  .  .  .  Sancte  Catherine  martins.  [Folio  369]  .  .  . 
Beate  Marie  Magdalene.  4to,  old  stamped  calf,  gauffred  gilt 
edges.    In  a  modern  case  of  green  levant  morocco. 

A  Spanish  Office  of  the  Virgin  and  other  Saints  written  in  large  gothic 
characters  of  black  and  red  upon  vellum  in  the  early  part  of  the  fifteenth 
century.    217  X  147  mm. 

It  contains  647  leaves,  including  12  for  the  Calendar,  and  the  text  has 
14  lines  to  the  page.  Folios  13,  149,  and  456  are  blank.  There  are  13 
large  miniatures  surrounded  by  borders,  24  historiated  initials,  and  156 
richly  decorated  borders  of  scrolls,  flowers,  birds,  figures,  and  grotesques 
in  brilliant  colours  heightened  with  gold,  besides  hundreds  of  illuminated 
initials  in  burnished  gold  on  an  ornamental  ground  of  blue  and  red.  On 
the  pages  opposite  the  miniatures  are  large  initials  of  floral  design  in 
blue  on  a  gold  ground,  measuring  about  47  X  47  mm.  Many  of  the 
borders  extend  around  three  sides  only  of  the  pages.    At  the  foot  of  folio 


144  OFFICIUM  BEAT^  MARINE  VIRGINIS 

15  recto  are  the  illuminated  arms  of  the  original  owner,  upborne  by 
four  angels. 

The  subjects  of  the  large  miniatures  are  1.  (F.  14  v.)  The  Annuncia- 
tion. 2.  (F.  27  V.)  The  Visitation  of  Elizabeth.  3.  (F.  50  v.)  The 
Nativity.  4.  (F.  57  v.)  The  Announcement  to  the  Shepherds.  5.  (F. 
63  V.)  The  Adoration  of  the  Magi.  6.  (F.  69  v.)  The  Presentation  in  the 
Temple.  7.  (F.  75  v.)  The  Massacre  of  the  Innocents.  8.  (F.  85  v.) 
The  Flight  into  Egypt.  9.  (F.  116  v.)  St.  Anna  and  the  Virgin  Mary. 
10.  (F.  150  V.)  The  Raising  of  Lazarus.  11.  (F.  206  v.)  King  David 
praying.  12.  (F.  262  v.)  The  Meeting  of  Joachim  and  Anna.  13.  (F. 
422  V.)  St.  Veronica  holding  the  Sacred  Sudarium. 

The  24  small  miniatures,  in  the  form  of  historiated  initials  (folios  136 
and  424-463),  depict  fourteen  saints  and  scenes  from  the  lives  of  Christ 
and  the  Virgin  Mary.    There  are  prayers  in  Spanish  on  folios  448-455. 

The  paintings  in  this  manuscript  are  extremely  brilliant  in  colour 
and  the  drawing  is  strong  and  vigorous  to  a  degree  bordering  on  rough- 
ness. 


OFFICIUM  BEAT^  MARI^  VIRGINIS.     S^c.  XV. 

4/0,  old  red  morocco,  the  sides  elaborately  and  delicately 
tooled  in  panels  and  compartments  containing  stars,  with  a 
fan-shaped  ornament  in  the  centre,  gilt  back,  vellum  linings, 
gilt  edges,  by  Du  Seuil. 

A  French  Office  of  the  Virgin  written  during  the  first  half  of  the 
fifteenth  century  upon  27  vellum  leaves,  with  13  lines  to  the  page.  192  X 
136  mm. 

There  are  4  miniatures  (57  X  53  mm.),  numerous  illuminated  initials, 
and,  on  all  the  pages,  elaborate  borders  of  pen  and  ink  tracery  with 
burnished  gold  leaves,  also  foliage  sprays  in  blue,  red,  and  gold  issuing 
from  the  large  illuminated  initials  and  from  the  gold  and  coloured  lines 
bordering  the  outer  margins  of  the  pages. 

The  subjects  of  the  miniatures  are  1.  (F.  1  r.)  A  monk  (the  scribe?) 
kneeling  before  the  Virgin  and  Child.  2.  (F.  19  v.)  The  Virgin  seated 
with  the  Infant  Child.  3.  (F.  23  r.)  The  Virgin  standing  with  the  Child, 
who  holds  a  dove,  two  angels  behind  them  supporting  a  robe.  4.  (F. 
25  r.)  The  Virgin  seated  with  the  Child,  St.  John  the  Baptist  and  St. 


OFFICIUM  BEAT.E  MARI.E  VIRGINIS  145 

Stephen  beside  her.  The  background  of  all  the  miniatures  is  painted  in 
a  mosaic  design  of  minute  squares  in  blue,  red,  and  burnished  gold 
characteristic  of  late  fourteenth  and  early  fifteenth  century  work. 

The  rubrics  and  the  first  thirteen  leaves  are  in  French  and  begin  with 
the  prayer  "Douce  dame  de  misericorde." 

OFFICIUM  BEAT.E  MARI^  VIRGINIS.    S^c.  XV. 
[Folio  7]  Incipit  officium  beate  et  gloriofe  virginis  Marie 
matris  domini  nfi  ihu  xpi  fm  romanum  curiam.    [Folio  39] 
Officium  Passionis.     [Folio  53]  Officium  mortuorum.  .  .  . 
Small  4to,  light  green  velvet,  gilt  edges. 

An  Italian  Office  of  the  Virgin  written  in  gothic  letters  upon  vellum  in 
the  fifteenth  century.     187  X  137  mm. 

There  are  121  leaves,  including  6  for  the  Calendar,  with  22  lines  to  the 
page. 

The  illuminations  consist  of  15  historiated  initials  (45  X  45  mm.) 
with  borders  of  scrolls  in  pen  tracery  and  burnished  gold  introducing 
flowers,  angels,  animals,  etc.,  and  numerous  large  and  small  illuminated 
initial  letters.  The  subjects  of  the  miniatures  are  the  usual  ones  accom- 
panying the  various  offices.  The  last  page  contains  only  the  words  "Deo 
gras.  Amen,"  the  initial  letter  depicting  a  woman  kneeling  before  a 
crucifix.  In  the  border  at  the  foot  of  folio  7  recto  are  the  illuminated 
arms  of  the  person  for  whom  the  manuscript  was  made. 

OFFICIUM  BEAT^  MARINE  VIRGINIS.    S^c.  XV. 

Small  8vo,  old  Italian  red  morocco  tooled  in  an  intricate 
Gasconesque  design  of  scrolls  in  gold,  with  arabesques  in  white 
enamel  and  centre  rosettes  of  similar  execution,  gilt  edges. 

An  Italian  Office  of  the  Virgin  written  in  roman  letters  of  black,  red, 
and  burnished  gold  upon  vellum  by  Jacopo  Tarranus  in  the  fifteenth 
century.     113  X  76  mm. 

There  are  80  leaves,  with  12  lines  to  the  page.  Folios  35,  36,  79,  and 
80  have  no  text,  but  are  ruled  in  borders  of  double  gilt  fillets  such  as  sur- 
round every  page  of  text.  The  scribe's  signature  appears  at  the  foot  of 
the  blank  folio  79  following  the  last  page  of  text,  "lacobus  Tarranus 

10 


146  OFFICIUM  BEAT^  MARI^  VIRGINIS 

Romanus  Scribebat."     The  large  initials  are  in  gold  surrounded  with 
red  scrolls  within  squares  of  double  gold  fillets. 

The  divisions  of  the  manuscript  are  1.  "Officium  S.  Crucis  ad  Matu- 
tinum,"  folios  1-19.  2.  "Officium  S.  Spiritus  ad  Matutinum,"  20-34. 
3.  "Septem  Psalmi  Poenitentiales,"  37-59.    4.  "Litaniae,"  60-78. 

OFFICIUM  BEATiE  MARI^  VIRGINIS.    S^c.  XV. 

[Folio  13]  Incipit  ofFm  btiffime  virginis  marie  fm  ofuetu- 
dinem  romane  curie  ufus.  Small  Svo,  old  green  morocco,  gilt 
backy  narrow  side  borders,  gilt  edges. 

An  Italian  Office  of  the  Virgin  written  in  the  fifteenth  century,  in  large 
and  small  gothic  characters  upon  vellum.    96  X  71  mm. 

It  contains  201  leaves,  including  12  for  the  Calendar,  and  the  text  has 
13  lines  to  the  page.  The  last  3  pages  are  in  different  characters  from 
the  rest  of  the  manuscript. 

The  illuminations  consist  of  initial  letters  and  3  full-page  borders  on 
folios  13  recto,  106  verso,  and  195  recto  surrounding  large  historiated 
initials  representing  the  Virgin  and  Child,  King  David  praying  and  a 
three-quarter  figure  of  Christ  on  the  Cross.  The  borders  are  composed 
of  conventional  flowers,  fruit,  and  foliage  in  brilliant  red,  blue,  and 
green,  with  pen  and  ink  scrolls  and  dots  in  burnished  gold.  The  his- 
toriated initials  are  in  the  same  colours,  the  backgrounds  being  of  red 
or  blue.  Scattered  through  the  manuscript  are  19  large  initials  in  colours 
and  burnished  gold  with  marginal  scrolls  in  blue  and  green  introducing 
flowers  and  gold  points;  also  initials  in  red  and  blue  with  marginal 
flourishes  and  scrolls  in  the  same  colours. 

At  the  foot  of  the  border  on  folio  13  are  the  arms  of  the  original  owner. 

OFFICIUM  BEATiE  MARINE  VIRGINIS.    S^c.  XV. 

[Folio  13]  Incipit  oflScium  beate  marie  virginis  fecundum 
confuetudinem  Komane  curie.  Small  4<o,  brown  levant 
morocco,  sides  blind-tooled  in  panels,  green  silk  linings,  silver 
clasps,  gilt  edges,  by  Gruel. 

An  Italian  Office  of  the  Virgin  written  in  the  latter  part  of  the  fifteenth 
century  in  black  and  red  gothic  letters  upon  vellum.    127  X  95  mm. 


OFFICIUM  BEAT^  MARINE  VIRGINIS  147 

It  has  145  leaves,  including  12  for  the  Calendar,  with  12  lines  to  the 
page.  The  illuminations,  in  addition  to  the  initial  letters,  consist  of  3 
elaborate  full-page  borders  surrounding  a  miniature  of  King  David  pray- 
ing (folio  113  V.)  and  2  large  historiated  initials  depicting  the  Virgin  and 
Child  (folio  13  r.)  and  King  David  playing  the  harp  (folio  114  r.).  The 
borders  are  composed  of  flowers  and  scrolls  in  red  and  blue,  small  min- 
iatures, and  angels  upon  a  gold  ground.  At  the  foot  of  folio  13  is  a  blank 
coat-of-arms  supported  by  two  angels. 

There  are  8  large  initials  in  colours  on  a  burnished  gold  ground,  with 
pen  and  ink  scrolls  and  gold  balls  extending  into  the  margins  also  other 
initials  in  burnished  gold  and  blue,  with  marginal  decorations  in  red 
and  blue. 

OFFICIUM    BEAT^    MARI^  VIRGINIS  secundum 

CONSUETUDINEM     CURIE     RoMANE.       1498. 

Small  Svo,  blue  velvet,  white  moire  silk  linings,  gauffred 
gilt  edges.    In  a  brown  morocco  case. 

A  beautiful  Italian  Office  of  the  Virgin  written  in  roman  characters 
upon  vellum  in  1498  by  Sigismund  de  Sismondi,  one  of  the  most  dis- 
tinguished copyists  and  calligraphers  of  his  time,  for  Francesco  Sfon- 
drato,  Senator  of  Cremona,  who  became  Bishop  of  Cremona  and,  in 
1534,  Cardinal.  His  illuminated  arms  are  at  the  foot  of  the  first  two 
borders  (foHos  13  v.  and  14  r.).    112  X  77  mm. 

On  folio  148  recto  is  the  inscription  by  the  artist,  written  in  red  ink, 
"  Expliciunt  feptem  pfalmi  penitentialef  in  caft.  Carpi  die  xxii  octobrif 
Mcccc  Lxxxx  viiij  per  Sigifmundum  de  Sigifmondis  de  Carpo." 

The  volume  contains  235  leaves,  including  12  for  the  Calendar,  and 
the  text  has  14  lines  to  the  page.  There  are  5  beautiful  miniatures,  6 
historiated  initials,  11  full-page  arabesque  borders  delicately  painted 
in  colours  on  a  dull  gold  ground,  each  containing  at  least  7  medallion 
heads,  7  borders  of  flowers  and  scrolls  extending  along  one  side  of  the 
page,  and  numerous  large  and  small  initial  letters  in  burnished  or  dull 
gold  on  a  ground  of  red,  blue,  or  green,  with  decorations  in  gold. 

The  subjects  of  the  miniatures  are  1.  (F.  13  v.)  The  Annunciation. 
2.  (F.  116  V.)  King  David  praying  near  a  cave  commanding  a  view  of 
Jerusalem  and  a  distant  landscape.  3.  (F.  148  v.)  The  Raising  of  Laza- 
rus; in  the  border  at  the  bottom  of  the  page.    4.  (F.  205  v.)  The  Cruci- 


148  OFFICIUM  BEAT.E  MARINE  VIRGINIS 

fixion ;  painted  with  microscopic  detail,  even  to  the  blood  on  the  ground. 
At  the  foot  of  the  Cross  are  the  Virgin  Mary  and  another  holy  woman, 
in  the  distance  a  charming  river  scene.  In  the  compartment  below  this 
painting  in  the  border  is  a  miniature  (slightly  effaced)  of  Christ  bound 
for  scourging.  5.  (F.  218  v.)  The  Virgin  Mary  ascending  the  steps  of 
the  Temple  for  the  benediction  of  the  High  Priest,  Joachim  and  Anna 
in  the  background,  a  charming  little  landscape  in  the  distance. 

The  subjects  of  the  historiated  initials  are  1.  (F.  14  r.)  The  Virgin 
and  Child,  within  the  letter  "D"  painted  in  burnished  gold  on  a  ground 
of  red.  Above  and  below  it  is  the  text,  "Incipit  Officium,"  etc.,  written 
in  letters  of  gold  on  a  ground  of  dark  blue.  2.  (F.  117  r.)  King  David 
clasping  his  harp.  The  text  on  this  page,  "Incipiunt  Septem  pfalmi 
poenitentialef,"  is  in  letters  of  gold  on  a  red  ground.  3.  (F.  148  v.)  A 
cadaver  in  cama'ieu  gris  on  black.  The  text  on  this  and  the  opposite 
page,  "Incipit  oflBcium  mortuorum"  is  in  gold  letters  on  a  red  ground. 
4.  (F.  206  r.)  A  three-quarter  painting  of  Christ  crucified;  in  the  border 
below  are  symbols  of  the  Passion  painted  in  camaieu  d'or  on  blue.  5.  (F. 
212  r.)  The  Descent  of  the  Holy  Spirit;  in  a  medallion  at  the  top  of  the 
border  is  the  Dove.    6.  (F.  219  r.)  The  Virgin  Mary  praying. 

All  of  the  illuminations  are  painted  with  the  greatest  delicacy,  and  the 
manuscript  is  a  beautiful  example  of  Italian  work  of  the  end  of  the 
fifteenth  century. 

OFFICIUM  BEAT^   MARI^   VIRGINIS.     S^c.  XV. 

Large  8vo,  red  straight-grain  morocco,  blind  and  gilt- 
tooled  borders,  gilt  edges. 

A  French  OflBce  of  the  Virgin  written  in  black  and  blue  gothic  char- 
acters upon  vellum  during  the  second  half  of  the  fifteenth  century. 
233  X  151  mm. 

It  has  159  leaves,  including  12  for  the  Calendar,  with  20  lines  to  the 
page,  and  contains  15  vigorously  painted  full-page  miniatures  within 
architectural  borders  of  shaded  gold.  Throughout  the  volume  are 
numerous  large  and  small  initial  letters  and  finials  in  black  on  a  ground 
of  dull  gold  ornamented  with  black  scrolls,  producing  a  rich  effect.  The 
Calendar,  containing  12  initials,  is  written  in  letters  of  black,  blue,  and 
burnished  gold. 


OFFICIUM  149 

The  subjects  of  the  miniatures  are  1.  (F.  13  v.)  The  Annunciation. 
2.  (F.  30  V.)  The  Visitation  of  EUzabeth.  3.  (F.  41  v.)  The  Crucifixion. 
4.  (F,  43  r.)  The  Descent  of  the  Holy  Spirit,  represented  by  a  shower 
of  gold.  5.  (F.  44  V.)  The  Nativity.  6.  (F.  50  r.)  The  Announcement 
to  the  Shepherds,  the  knees  of  whose  leggings  are  ragged  from  kneeling. 
7.  (F.  55)  The  Adoration  of  the  Magi,  one  of  whom  is  black.  8.  (F. 
61  r.)  The  Presentation  in  the  Temple.  9.  (F.  66  v.)  The  Flight  into 
Egypt.  10.  (F.  75  r.)  The  Coronation  of  the  Virgin.  11.  (F.  92  r.) 
King  David  praying;  a  curious  composition  showing  a  youthful  war- 
rior, a  woman,  and  Death  with  a  coffin  before  him.  12.  (F.  110  v.) 
Job  and  his  three  Comforters.  13.  (F.  149  v.)  St.  John  the  Evangelist 
on  Patmos.  14.  (F.  151  v.)  The  Virgin  and  Child  enthroned.  15. 
(F.  156  r.)  The  Crucifixion. 

The  colouring  of  this  manuscript  is  unusual,  being  confined  to  blue, 
black,  dull  gold,  and  green.  Red  is  used  only  once,  —  in  the  miniature 
of  the  Nativity. 

OFFICIUM  De  Quatuor  Dominicis  de  Adventu  .  .  .  [Folio 
363]  Officium  de  Septem  Festivitatibus  Beate  Virginis,  etc. 
[Ssec.  XV-XVI].  Small  folio,  in  a  seventeenth  century  Ital- 
ian binding  of  red  morocco  tooled  in  panels  and  corner  orna- 
ments, gilt  edges.    In  a  modern  blue  morocco  case. 

A  superb  Italian  manuscript  of  Offices  written  in  beautiful  roman 
characters  of  black  and  red  upon  pure  Italian  vellum  in  the  late  fifteenth 
or  early  sixteenth  century  for  Andrea  Mattheus  Aquiviva,  whose  arms 
are  painted  at  the  foot  of  the  border  on  folio  18  recto.     272  X  187  mm. 

The  volume  begins  with  the  title  in  black  and  gold,  "Verba  divina 
ab  Andrea  Matthaeo  Aquivivo  Duce  Adrianoru.  Quotidie  fieri  solita: 
ab  semet  code  pro  sua  pretate  ordinata.  Summus  Potifex.  Authori- 
tatem  suam,  &  indulgentias,  quisquis  recitauerit,  adiecit."  The  next 
two  leaves  contain,  in  italic  characters,  the  Letter  of  Pope  Leo  X,  in 
which  the  book  is  described  as  having  been  arranged  by  Aquiviva: 
"Psalmi  cum  Hymnis,  Antiphonis  et  Orationibus  in  unum  redegerit," 
and  in  which  indulgences  are  granted  to  the  Aquiviva  family  and  to 
whoever  should  use  the  book.  The  Letter  is  dated  "Romae  apud 
Sanctum  Petrum  sub  Annulo  Piscatoris  die  quinta  Februarij  M  DXVIIII. 
Pontificatus  nostri  Anno  sexto." 


150  OFFICIUM 

It  is  written  upon  425  leaves,  including  15  of  preliminary  matter,  viz., 
title,  letter,  Calendar,  and  Tabula,  —  with  20  lines  to  each  page  of 
text.    Folios  4,  16,  50,  86,  154,  189,  222,  and  273  are  blank. 

There  are  9  beautiful  large  miniatures  surrounded  by  Renaissance 
borders  containing  in  all  48  small  miniatures  in  compartments.  These 
paintings,  which  are  in  the  best  style  of  art  of  the  period,  have  been 
attributed  to  one  of  the  Ghirlandajo  family.  On  folio  18  recto  is  a  full- 
page  border  of  scrolls  on  a  ground  of  blue,  red,  and  green  heightened 
with  gold,  with  the  arms  of  Aquiviva  at  the  bottom.  There  are  87 
other  single  borders  and  12  large  initial  letters  of  similar  design  scattered 
through  the  book,  also  hundreds  of  initials  in  gold  on  a  ground  of  colours. 

The  subjects  of  the  large  miniatures  are  1.  (F.  17  v.)  The  Annun- 
ciation (150  X  103  mm.),  an  oval-topped  painting  of  the  Virgin  pray- 
ing in  her  bed- room  in  a  domed  edifice  open  on  one  side;  God  the 
Father  in  the  sky,  and  Joseph  in  the  courtyard,  in  which  are  playing 
rabbits,  a  trained  monkey,  etc.  The  capital  letter  "T"  occurs  on  a 
silver  shield  at  the  top.  Among  the  8  small  miniatures  in  the  border 
are  St.  Andrew,  St.  Vincent,  the  Angel  appearing  to  Joachim,  two 
Bishops,  the  Sibyl  Tiburtina,  and,  in  a  diamond-shaped  compartment 
below  the  large  miniature,  the  Marriage  of  the  Virgin  and  Joseph. 
2.  (F.  51  V.)  The  Nativity  (150  X  115  mm.);  the  scene  is  outside  the 
mouth  of  a  cave,  two  Shepherds  and  an  angel  join  in  worship,  and  in 
the  distance  two  more  Shepherds  are  receiving  the  Announcement.  Of 
the  3  small  miniatures  in  the  border,  the  largest,  in  an  arched  compart- 
ment at  the  bottom,  represents  the  Magi  before  Herod.  The  left  side 
of  the  border  depicts  naked  boys  climbing  a  tree-trunk  encircled  by  a 
grape  vine.  3.  (F.  87  v.)  One  of  the  finest  of  the  miniatures  (130  X 
75  mm.)  depicting  Adam  and  Eve  expelled  from  the  Garden  of  Eden 
by  an  angel  bearing  a  sword,  within  an  arched  marble  portico  of  various 
colours.  In  the  pediment  of  the  architectural  border  of  arabesque  de- 
sign is  the  letter  "T"  in  burnished  gold  on  a  red  ground.  4.  (F.  121  v.) 
Christ  calling  his  Apostles  (156  X  102  mm.);  the  border  is  in  an  ara- 
besque design  of  grotesques  in  rose,  blue,  and  green  on  a  burnished 
gold  ground,  with  6  small  miniatures  containing  scenes  from  the  life 
of  Christ,  —  the  Bearing  of  the  Cross,  the  Temptation  by  the  Devil, 
etc.  5.  (F.  155  v.)  The  Resurrection  (147  X  101  mm.);  Christ  in 
Glory  leaving  the  Tomb  by  a  road  leading  to  Jerusalem,  an  Angel  and 
four  Holy  Women  in  the  foreground.     The  border  contains  flowers. 


OFFICIUM  —  ONOSANDER  151 

fruits,  birds,  animals,  gems,  and  9  small  miniatures,  representing  Christ 
walking  on  the  water,  and  descending  into  Hell,  the  Meeting  of  Joachim 
and  Anna,  St.  Mark,  King  David,  Christ  on  the  road  to  Emmaus,  the 
Last  Supper,  etc.  At  the  foot  of  the  page  are  two  Angels  supporting 
organ-pipes  between  which  are  the  Medici  arms.  6.  (F.  245  v.)  The 
Last  Judgment  (140  X  85  mm.),  a  brilliantly  painted  miniature,  within 
an  architectural  border,  representing  Heaven  and  Hell;  in  the  base 
are  5  small  miniatures,  at  the  left  are  trophies  on  a  burnished  gold 
ground.  7.  (F.  274  v.)  Jonah  at  Nineveh  (75  X  75  mm.)  in  an  archi- 
tectural border,  in  the  upper  oval  portion  of  which  is  a  painting  of  a 
king  kneeling  before  a  bishop.  In  the  border,  which  is  in  compart- 
ments of  gold  and  colours  on  a  white  ground,  are  5  other  small  minia- 
tures depicting  the  Crucifixion,  King  David  praying,  Mary  Magdalene 
anointing  Christ's  feet,  etc.  8.  (F.  304  v.)  The  Descent  of  the  Holy 
Spirit  (150  X  115  mm.)  surrounded  by  a  brilliant  border  of  compart- 
ments in  bright  colours  outlined  with  interlacing  fillets  of  burnished 
gold,  and  introducing  angels,  musical  instruments,  gem-like  ornaments, 
and  the  figure  of  a  monk.  9.  (F.  362  v.)  Various  subjects  connected 
with  the  life  of  the  Virgin,  in  an  architectural  painting  of  11  compart- 
ments, the  central  one  of  which  (88  X  40  mm.)  represents  the  Meet- 
ing of  Joachim  and  Anna,  with  the  Virgin  as  a  young  girl  in  glory  above. 

The  paintings  in  this  fine  manuscript  are  of  the  highest  order  of 
merit,  finely  drawn  and  of  great  delicacy  and  brilliancy.  The  borders, 
original  and  varied  in  design,  are  painted  in  the  best  Italian  manner. 

From  the  collection  of  the  Earl  of  Morley. 

OFFICIUM.  —  See  Hor^. 

ONOSANDER. 

Onosandri  de  optimo  Imperatore  eligendo  per  Nicolaum 
Secundinum  e  grseco  in  Latinum  conuerfus.  [Circa  1480]. 
Large  Svo,  contemporary  Florentine  binding  of  red  morocco 
over  oak  boards,  tooled  in  panels  of  broken  chains  with  centre 
ornamentSy  gilt  edges.  Reproduced  in  facsimile  in  Home's 
^^ Binding  of  Books." 

An  Italian  manuscript  beautifully  written  in  cursive  characters  of 
black  and  red  upon  vellum  about  1480.    219  X  142  mm. 


152  ONOSANDER  — OVIDIUS  NASO 

It  consists  of  69  leaves,  with  20  lines  to  the  page.  The  heading  of 
the  first  page  is  written  in  letters  of  blue  and  burnished  gold  within  a 
beautiful  border  of  white  scrolls  on  a  ground  of  blue,  light  green,  and 
rose,  surrounded  by  gilt  fillets.  There  are  3  large  initial  letters  of  bur- 
nished gold  on  a  ground  of  similar  design  (folios  1,  4,  and  7),  and  in 
the  border  at  the  foot  of  folio  1  is  a  blank  coat-of-arms  surrounded  by 
a  wreath.  Throughout  the  volume  are  numerous  small  initial  letters 
of  burnished  gold  on  a  ground  of  pen  tracery  in  violet. 

From  the  collection  of  William  Morris. 

ONOSANDER.  —  See  ^lianus  and  Onosander. 

OVIDIUS  NASO,  PuBLius. 

Ovidii  Artis  Amatorise  Libri  III.  Remediorum  amoris 
Liber.  Heroides  seu  Epistolse  XXI.  Amorum  Libri  III,  etc. 
[Ssec.  XV].  12mo,  citron  levant  morocco,  mosaic  ornaments 
of  green  and  violet  morocco  in  the  back  panels,  which  are 
delicately  tooled  in  leaf-sprays,  doubled  with  blue  morocco 
having  a  border  of  leaf-sprays  with  mosaic  ornaments  of  red 
morocco,  gilt  edges,  by  Lortic.  In  a  case  of  green  levant 
morocco. 

A  beautiful  Italian  manuscript  written  in  roman  characters  upon  fine 
vellum  during  the  first  half  of  the  fifteenth  century.    149  X  78  mm. 

It  contains  203  leaves,  with  26  lines  to  the  page.  Folios  44  and  60 
are  blank.  There  are  8  Renaissance  borders,  7  large  historiated  or 
floriated  initials  in  gold  and  colours,  and  81  smaller  initials  in  bur- 
nished gold  on  a  ground  of  decorated  blue  and  red. 

The  border  on  the  first  page  is  painted  in  camaieu  d'or  on  a  ground  of 
crimson  extending  around  three  sides,  with  a  ground  of  green  and  blue 
at  the  bottom. 

The  first  line  of  De  Arte  Amandi  is  written  in  capital  letters  in  camaieu 
d'or  on  a  ground  of  the  same.  The  accompanying  large  initial  letter  is 
beautifully  painted  in  shaded  gold  on  a  ground  of  green.  The  other 
borders  are  in  red,  green,  and  cama'icu  d'or  on  a  ground  of  deep  blue, 
the  last  four  being  only  lateral  in  form. 


OVIDIUS  NASO  153 

The  divisions  of  the  poems  are  1.  "Ars  amandi,"  folios  1-43  r.  2. 
"Remedium  amoris,"  folios  45-59  v.;  3.  "Heroides,"  folios  61-129  r.;  4. 
A  poem  on  Sappho,  beginning  "  Nunquid  ubi  aspecta  et  studiose  littera 
dextre,"  followed  by  a  prose  notice  of  Sappho,  folios  129  r.-133  v.; 
5.  Three  responses  to  as  many  "Heroides"  attributed  to  Sabinus,  the 
friend  of  Ovid,  and  a  short  note  on  the  former,  folios  133  V.-140  r. ;  6. 
"Amorum  libri  III,"  folios  141-186  v.;  7.  "Pulex,"  an  Elegy  attributed 
to  Ovid,  folio  187  r.-187  v.  8.  "De  Philomela,"  another  Elegy,  not 
written  by  Ovid,  folios  187v.-189r.;  9.  "De  Medicamine  faciei,"  a 
fragment  of  elegiac  verse  on  cosmetics  addressed  to  young  girls,  folios 
189  r.-191  r.  10.  "Nux,"  an  Elegy,  folios  191  r.-194  r.  11.  "Con- 
solatio  ad  Liviam  Augustam,"  on  the  death  of  Drusus  Nero,  his  son, 
folios  194  V.-203  v. 

On  folio  203  recto  is  a  partially  defaced  note,  "Dono  accepit  Augus- 
tinus  Amodeus  a  D.  Dominico  Seglia,"  and  the  quartered  arms  of  the 
original  owner  are  painted  at  the  foot  of  the  borders  on  the  rectos  of 
folios  1  and  141. 

All  of  the  illuminations  are  painted  with  much  care.  The  manu- 
script was  formerly  in  the  library  of  Ambroise  Firmin-Didot. 

OVIDIUS  NASO,  PuBLius. 

Les  XXI  Epiftres  Des  Dames  Illuftres,  traduicttes 
d'Ouide  par  Le  Reuerend  Pere  en  Dieu:  Monseig. 
L'Evesque  De  Angoulefme.  [1499-1502].  Large  8vo,  old 
red  morocco  delicately  tooled  in  panels  with  centre  and  corner 
ornaments,  gilt  edges.    In  a  modern  case  of  red  morocco, 

A  beautiful  French  manuscript  of  the  French  poetical  version  of  Ovid's 
Epistoloe  Heroidum,  which  is  universally  ascribed  to  Octavian  de  Saint- 
Gelais,  Bishop  of  Angouleme  (1494-1502),  written  in  gothic  characters 
upon  vellum.  As  the  miniature  on  folio  46  is  probably  a  portrait  of 
Queen  Anne  de  Bretagne,  who  married  Louis  XII  on  January  7,  1499, 
the  manuscript  was  presumably  executed  about  1499,  and  as  the  portrait 
on  folio  112  resembles  the  heads  of  Louis  XII  found  on  coins  of  the 
period,  it  may  safely  be  asserted  that  it  was  executed  for  this  royal 
couple.     242  X  165  mm. 

It  consists  of  130  leaves,  with  36  lines  to  the  page. 


154  OVIDIUS  NASO 

The  title,  which  was  painted  at  a  later  date  than  the  body  of  the 
book,  is  in  an  architectural  border  of  camaieu  d'or  containing  at  the  top 
a  medallion  profile  portrait  of  Ovid  in  a  red  robe  on  a  blue  ground.  There 
are  21  exquisite  half-page  portraits,  18  of  women,  3  of  men,  in  full-page 
borders  of  colours  and  dull  gold. 

The  subjects  of  the  miniatures  are  1.  (F.  3  r.)  Penelope  in  a  blue 
and  gold  gown  with  a  jewelled  cincture,  an  outer  robe  of  red  and  gold 
lined  with  white,  a  heavy  gold  chain  around  her  neck,  on  her  head  a 
white  and  red  cap  ornamented  with  gold  stars.  She  sits  writing  at  a 
table  in  a  room  panelled  with  grey,  red,  and  gold.  2.  (F.  7  v.)  Phyllis 
in  a  red  and  gold  gown  fastened  at  the  waist  with  a  green  girdle,  around 
her  neck  two  heavy  gold  chains,  over  her  head  and  shoulders  a  robe  of 
red  and  gold.  She  sits  at  a  table  in  a  grey  panelled  room  containing 
two  windows.  3.  (F.  11  v.)  Briseis  in  a  red  gown  embroidered  with 
gold,  large  flowing  sleeves  lined  with  white,  a  black  coif  over  her  hood 
of  red  and  white.  She  stands  before  a  table  on  a  battlemented  roof. 
4.  (F.  17  r.)  Phedre  in  a  green  robe  embroidered  in  gold  with  close 
black  sleeves  under  flowing  yellow  ones,  on  her  head  a  black  coif.  She 
stands  before  a  gilt  writing-table  in  a  vaulted  room  with  decorated  grey 
walls,  and  holds  a  quill  pen  in  her  raised  left  hand,  a  pen-knife  in  her  right 
hand.  5.  (F.  23  v.)  (Enone  in  a  rose  and  red  gown  with  cap,  sitting  in 
a  pillared  porch,  beyond  which  is  a  landscape.  6.  (F.  30  r.)  Hypsipyle 
in  a  blue  robe  trimmed  with  bands  of  gold  and  red,  a  triple  jet  necklace, 
a  jet  bandeau  with  roses  in  her  flowing  hair.  She  stands  against  a  back- 
ground of  dull  green  with  mauve  ornamentation  in  stripes.  7.  (F.  35  v.) 
Dido  in  a  blue  gown  with  gold  and  red  robe  covering  her  head,  which 
is  crowned.  She  stands  writing  in  a  book,  near  her  a  gilt  reading-stand. 
The  room  is  brick-walled,  and  the  ceiling  vaulted.  8.  (F.  42  v.)  Her- 
mione  in  a  loose  blue  robe  edged  with  gold  and  red,  a  massive  gold  chain 
around  her  neck,  on  her  head  an  elaborate  cap  in  red  and  gold.  She 
stands  at  a  table  before  a  window,  a  knife  in  her  left  hand.  9.  (F.  46  r.) 
Dejanira  sitting  at  a  table  before  a  window,  clad  in  a  red  gown  with  a 
blue  coif  over  her  crowned  head.  This  painting  is  supposed  to  be  a 
portrait  of  Anne  de  Bretagne,  as  it  resembles  the  one  in  her  Livre  d'Heures. 
10.  (F.  52  r.)  Ariadne  on  the  island  of  Naxos,  a  weeping  figure  in  a 
gown  of  gold  and  red,  with  a  grey  scarf  over  her  head;  in  the  back- 
ground high  rocks  and  trees.  11.  (F.  57  r.)  Canace  stabbing  herself. 
She  stands  holding  her  pen  in  her  left  hand.    Her  robe  is  mauve  over 


PASSIO  CHRISTI  155 

red  embroidered  with  gold.  12.  (F.  62  r.)  Medea  in  an  elaborate  gown 
of  gold  and  red  with  white  head-dress  covered  with  a  red  and  gold  mantle. 
She  stands  before  a  table  reading  her  Epistle  from  a  book.  13.  (F.  69  v.) 
Laodamia  in  a  blue  gown  embroidered  with  white  and  a  red  and  gold 
robe,  a  fillet  around  her  flowing  yellow  hair.  She  stands  at  a  table  before 
a  window.  14.  (F.  75  v.)  Hypermnestra  in  prison.  15,  (F.  80  r.) 
Paris,  a  youthful  figure  in  a  fur-trimmed  blue  robe  with  a  red  cap  on  his 
flowing  yellow  hair.  16.  (F.  88  v.)  Helen  dressed  in  a  red  robe  height- 
ened with  gold,  a  black  mantle  on  her  head,  and  standing  before  a 
window  writing.  17.  (F.  97  r.)  Leander  seated  on  the  shore  of  Abydos 
removing  his  shoes,  in  the  background  the  Hellespont  and  Hero's  tower 
with  the  light  burning  in  the  window.  18.  (F.  105  r.)  Hero  in  a  red 
and  gold  robe,  with  flowing  yellow  hair,  standing  at  the  battlements  of 
her  tower,  19.  (F.  112  r.)  Acontius,  a  portrait  of  Louis  XII,  seated 
before  a  window,  a  crown  on  his  red  cap  and  wearing  a  mauve 
robe  embroidered  in  gold  and  lined  with  ermine.  20.  (F.  118  v.) 
Cidippe  in  a  red  and  silver  robe,  standing  with  crossed  arms.  21. 
(F.  123  r.)  Sappho  in  a  silver  gown  embroidered  in  white  over  a  red 
undergarment,  with  a  white  and  red  head-dress  embroidered  in  gold 
stars. 

All  of  the  miniatures  are  very  carefully  painted  and  with  so  much 
individuality  as  to  be  undoubtedly  portraits,  some  of  them  possibly  of 
the  maids  of  honour  of  Anne  de  Bretagne.  They  are  also  interesting 
as  examples  of  the  costume  of  the  period,  executed  in  the  style  of  the 
famous  Livre  d' H cures  d' Anne  de  Bretagne,  in  the  Bibliotheque  Nation- 
ale.  That  library  contains  at  least  four  manuscripts  of  the  present 
translation,  one  of  which  belonged  to  Louis  XII,  but  none  of  them  as 
interesting  as  this  one. 

PASSIO   CHRISTI. 

[Folio  2]  Auifo  y  inftrucion  Para  dho  exercicio  y  delos 
frutos  que  fe  Alcan  9an  por  el.  [Folio  8]  Siguen  las  Veinte 
y  quatro  horas  de  la  passion  de  rii^o  senor.  Ihu  xpo  con  sus 
Oraciones.  A  la  tarde  a  seys  horas  Oracion.  [1591].  24wo, 
original  calf,  tooled  in  gilt,  with  gilt  edges.  In  a  modern 
case  of  brown  levant  morocco. 


156  PERSIUS  —  PETRARCA 

A  Spanish  manuscript  of  the  Passion  executed  in  italic  characters  of 
black  and  red  upon  44  leaves  of  vellum  in  1591,  according  to  the  date 
on  the  last  miniature.     82  X  59  mm. 

All  of  the  twenty-five  divisions  of  the  book  begin  with  delicately 
painted  initial  letters  in  colours  heightened  with  gold,  and  there  are  25 
miniatures  surrounded  by  borders  of  gold. 

The  subjects  illustrate  Christ's  Passion  with  the  exception  of  the  first 
two,  which  depict  the  Nativity  and  Christ  with  five  Disciples.  The 
last  painting,  the  Entombment,  contains  the  date  1591  in  letters  of  gold. 
The  miniatures  are  all  well  painted,  in  soft  rather  than  brilliant  colours. 

PERSIUS,  AuLus  Flaccus. — See  Juvenalis  and  Persius. 

PETRARCA,  Francesco. 

Sonetti,  Canzoni  e  Trionfi.  [Ssec.  XV].  Folio,  original 
vellum  covers. 

An  Italian  manuscript  of  Petrarch's  Italian  Poems  written  in  italic 
characters  upon  fine  vellum  in  the  early  part  of  the  fifteenth  century 
288  X  170  mm. 

It  consists  of  176  leaves,  with  from  28  to  30  lines  on  a  page.  Folio 
139  is  blank.  There  are  361  large  initial  letters  in  burnished  gold  on 
a  ground  of  blue  and  red  with  white  scroll  decorations,  and  two  full- 
page  borders,  on  folios  1  and  140.  The  first  is  a  quadrilateral  "line  and 
leaf"  design  of  black  and  burnished  gold  introducing  flowers,  figures, 
helmets  at  the  four  corners,  and,  at  the  foot  of  the  page,  a  shield  con- 
taining the  arms  of  an  owner,  of  later  date  than  the  manuscript  itself. 
On  each  side  are  angels  in  blue  with  peacock's  wings.  The  second 
border,  at  the  beginning  of  the  Trionfi,  is  trilateral  and  less  elaborate  in 
design. 

The  vellum  upon  which  this  manuscript  is  written  is  unusually  white 
and  fresh. 

PETRARCA,   Francesco. 

Sonetti,  Canzoni  e  Trionfi.  [Ssec.  XV].  Svo,  light  brown 
levant  morocco  tooled  in  panels  in  the  Aldine  manner,  vellum, 
linings,  gilt  edges,  by  Chambolle-Duru. 


PETRARCA  157 

An  Italian  manuscript  of  Petrarch's  Poems  written  in  roman  char- 
acters upon  fine  vellum  in  the  fifteenth  century.    228  X  145  mm. 

There  are  197  leaves,  with  29  lines  to  the  page.  Folios  8,  9,  10,  188, 
189,  and  190  are  blank.  The  divisions  of  the  volume  are  1.  "Tabula," 
folios  1-7.  2.  "Francisci  Petrarce  Poetse  Clarissimi  Sonectorum,"  11- 
150.  3.  "Francisci  Petrarce  Poetse  Clarissimi  De  Amore  Triumphus," 
151-187.  4.  "Vita  Francisci  Pe.  Poe.  Clar.  edita  per  Leonardum  Arreti- 
num  virum  cl."  191-197, 

The  illuminations  consist  of  borders  and  initial  letters  painted  in 
colours  and  burnished  gold.  On  the  first  page  of  the  Sonnets  (folio  11) 
is  an  elaborate  full-page  border  of  garlands,  cupids,  and  birds,  with  8 
compartments,  5  of  which  contain  men's  heads.  In  the  centre  of  the 
foot  of  the  page  is  a  blank  oval  compartment  intended  for  the  arms  of 
the  person  for  whom  the  manuscript  was  executed.  The  title  of  the 
Sonnets  is  in  two  compartments  in  burnished  gold  letters  on  a  blue  and 
rose  ground.  An  historiated  initial  containing  a  half-length  portrait 
of  Petrarch  begins  the  text. 

The  remaining  14  borders  are  lateral  and  occur  in  the  second  division 
of  the  poems,  the  Trionfi.  They  are  of  two  varieties:  6  borders  are 
composed  of  brilliant  flowers,  urns,  birds,  and  gold  dots  and  are  ac- 
companied by  historiated  initial  letters  delicately  painted,  e.  g.,  a  blind- 
folded cupid  shooting  an  arrow  (f.  151);  Death,  represented  by  a 
winged  cadaver  (f .  166  v.) ;  and  a  winged  hour-glass  (f ,  182).  The 
other  variety  of  border  is  composed  of  scrolls  in  blue,  white,  green,  and 
rose,  with  gold  dots,  attached  to  initial  letters  of  a  similar  character. 

This  is  a  fine  specimen  of  a  classical  Italian  manuscript. 

PETRARCA,   Francesco. 

Rime.  (I)  [Folio  1]  Vol  chascoltate  in  rime  sparse  il  suono 
di  quei  sospiri  ondio  nutriva  il  core  in  sul  mio  primo  giovenil 
errore  quando  era  in  parte  .  .  .  [Folio  97]  Hsee  reperta  sunt 
in  Papienfi  Bibliotheca  in  quodam  Virgilio  Domini  Francifci 
Petrarcse  fcripta  manu  propria  eiusdem  Domini  Francifci. 
Laura  propriis  virtutibus  illustris :  et  meis  longum  celebrata 
carmimbus:  primum  oculis  meis  apparuit:  sub  primum 
adolefcentise  meae  Tempus  anno  Domini  MCCCXXVII. 
die  vi.  menfis  Aprelis  .  .  . 


158  PETRARCA 

(II)  [Folio  98  verso]  Francisci  Petrarchse  Florentini  de 
Morte  Laurea?  Elegia. 

(III)  [Folio  142  recto]  Francisci  Petrarchae  Florentini 
Triumphi  incipiunt.  Amoris  Triumphus  I.  [Ssec.  XV]. 
Svo,  oriqinal  Venetian  binding  of  red  morocco  gilt-tooled  in 
a  Moorish  design  in  'panels^  morocco  and  brass  clasps,  gilt 
edges.    In  a  modem  case  of  green  morocco. 

A  delicately  written  Italian  manuscript  of  Petrarch's  Italian  poems 
executed  in  small  italic  characters  upon  fine  vellum  in  the  fifteenth 
century.    166  X  111  mm. 

Folios  i-viii  and  1-178,  folios  viii,  139,  140  being  blank;  28  lines  to 
the  page.  Each  of  the  three  parts  has  a  separate  title-page  written  in 
uncial  letters  in  blue,  red,  and  gold,  and  surrounded  by  a  border  of 
architectural  design  containing  figures,  garlands,  etc.,  painted  in  colours 
and  cama'ieu  (Tor.  The  first  border  (f.  1)  has  at  the  foot  a  blank  medal- 
lion intended  for  a  coat-of-arms.  The  second  border  (f.  98  v.)  contains 
at  the  top  an  exquisite  small  miniature  representing  a  stag  with  a  woman's 
face  pursued  by  two  greyhounds,  an  allegorical  illustration  of  the  seventh 
stanza  of  Canzone  21,  in  which  the  poet  complains  of  having  lost  the 
way  leading  to  the  desired  port  (represented  in  the  miniature  by  a  ship 
at  anchor  in  the  background)  and  of  being  tormented  by  fatal  remorse 
on  one  hand  and,  on  the  other,  by  the  sweet  memory  of  earthly  pleasures, 
from  which  he  vainly  seeks  to  free  himself,  although  he  knows  that  his 
end  is  near.  In  the  miniature,  death  is  represented  by  a  sarcophagus; 
the  stag  is  the  poet's  soul  disquieted  by  contradictory  instincts,  depicted 
by  the  two  greyhounds,  one  black  and  one  white.  Attached  to  a  wreath 
of  laurel  at  the  foot  of  the  page  is  a  blank  oval  intended  for  arms. 

The  third  border  (f.  142)  is  painted  in  camaieu  d^or  with  a  scene  in 
gold  and  colours  at  the  foot:  Love  triumphant  riding  on  a  burning 
chariot  followed  by  vanquished  couples.  On  the  opposite  page  (f.  141 
v.)  is  a  full-page  miniature  of  a  similar  theme  painted  upon  saffron- 
coloured  vellum  in  camaieu  d'or  and  pale  green.  The  poet,  in  a  hooded 
robe,  with  a  companion,  views  the  procession  from  a  neighbouring  hill. 

The  first  seven  leaves  of  the  volume  contain  an  alphabetical  index  of 
the  first  lines  of  the  poems.  There  are  numerous  capital  letters  in  blue 
and  burnished  gold,  also  variants  and  Greek  characters  on  the  margins.. 


PETRARCA  159 

PETRARCA,   Francesco. 

Rime:  [Folio  9  verso]  Francisci  Petrarcse  Florentini 
Poetae  excellentiss.  Rhythmi  incipiunt.  [Folio  106  recto] 
Eiusdem  Francisci  Petrarcse  de  Morte  Dominae  Laurese 
Rhythmi  incipiunt.  [Folio  149  verso]  Francisci  Petrarcse 
Florent.  Poetae  clariss.  Triumphi  incipiunt.  [Saec.  XV]. 
8vo,  original  Medicean  binding  of  calfskin,  ornamented  with 
panels  partly  gold  and  partly  blind-tooled,  medallions  of 
Petrarch  and  Laura  stamped  in  the  centre  of  the  covers,  edges 
gaujfred  and  gilt.    In  a  modern  case  of  brown  morocco. 

An  Italian  manuscript  of  Petrarch's  Italian  poems  executed  in  italic 
characters  upon  vellum  in  the  fifteenth  century.    234  X  142  mm. 

It  contains  187  leaves  including  7  for  the  Index  to  the  first  lines  of  the 
poems  in  the  first  two  parts  of  the  volume.  Folios  8,  147,  and  148  are 
blank,  148  being  of  purple  vellum.  There  are  2  frontispieces,  one  on 
saffron,  the  other  on  purple  vellum,  in  the  style  of  Andrea  Mantegna, 
3  beautiful  coloured  borders  surrounding  titles  written  in  letters  of  gold 
and  colours,  and  400  initial  letters  in  burnished  gold  on  a  blue  ground 
decorated  with  white,  7  being  elaborated  with  symbols. 

The  first  border  (f.  10  r.)  is  of  an  architectural  design  in  blue,  red, 
and  green  heightened  with  gold,  introducing  at  the  base  3  medallions 
containing  herons,  in  the  columns  2  blank  escutcheons.  On  this  page 
is  a  beautifully  painted  initial  containing  two  rabbits. 

The  second  border,  around  the  title-page  "De  Morte  Dominse  Laureae 
Rhythmi"  (f.  106  r.),  is  in  the  form  of  a  memorial  tablet  in  bistre  on  a 
ground  of  shaded  blue,  the  upper  part  containing  a  death-scene  of  a 
woman  thrown  from  a  chariot,  beautifully  painted  in  gold  and  silver  on 
a  black  ground.  The  third  border  (f.  150  r.)  is  of  an  architectural 
design  in  blue,  red,  and  brown  heightened  with  gold,  introducing  em- 
blematic ornaments  and  an  historiated  initial  containing  a  doe.  This 
border  is  somewhat  rubbed. 

The  first  frontispiece,  on  saffron  vellum  (f.  9  v.)  is  in  the  form  of  an 
elaborate  memorial  tablet,  in  the  upper  part  of  which  are  the  portraits 
of  Petrarch  and  Laura.  Poetical  symbols  are  introduced  and  at  the 
left  stands  Apollo  with  his  lyre.  In  the  lower  right-hand  corner  is  a 
Cardinal's  hat  surmounting  an  effaced  coat-of-arms.  The  frontispiece 
to  "Triumphi"  (f.  149  v.)  is  painted  in  gold  and  silver  on  purple  vellum. 


160  PETRARCA 

PETRARCA,  Francesco. 

Triompho  dello  Amore  d.  M.  Fr.  Petrarca  Poeta  F. 
Triompho  della  Pudititia,  —  della  Morte,  —  della  Fama,  — 
del  Tempo,  —  della  Divinita.  [Florentise,  ante  1492].  Svo, 
red  levant  morocco,  centre  ornaments  of  interlacing  fillets  and 
leaf-spraySy  with  a  cupid*s  head  in  the  middle,  vellum  linings, 
gilt  edges,  by  Trautz-Bauzonnet. 

An  Italian  manuscript  beautifully  written  in  italic  characters  upon 
vellum  for  Lorenzo  de  Medici  (d.  1492),  whose  arms  are  painted  in  gold 
and  colours  on  folios  1,  14,  and  25.    251  X  143  mm. 

It  contains  41  leaves,  with  27  lines  to  the  page.  The  6  divisions  of  the 
poem  have  at  the  beginning  borders  supposed  to  have  been  painted  by 
the  celebrated  Florentine  miniaturist  Attavante,  as  the  initials  "M.  A." 
(Maestro  Attavante.')  are  in  a  cartouche  in  the  lower  left-hand  corner 
of  the  first  painting.  There  are  6  large  initial  letters  in  gold  and  colours 
and  7  initials  in  gold. 

The  illuminations  are  1.  (F.  1)  A  full-page  border  of  architectural 
and  emblematical  design  introducing  a  Corinthian  column,  trophies, 
cupids,  gems,  etc.,  painted  in  gold  and  delicate  colours  on  a  dark  red 
and  blue  ground.  In  the  centre  of  the  base  of  the  design  are  the  Medici 
arms  supported  by  two  cupids ;  at  the  top  are  medallion  cameo  portraits 
of  Lorenzode  Medici  and  Petrarch  on  a  black  ground.  2.  (F.  14)  A 
half-page  border  painted  in  mauve  in  the  form  of  a  tablet  with  broken 
pediment.  At  the  foot  are  the  Medici  arms  with  a  chaplet  of  jewels.  3. 
(F.  18)  A  full-page  border  representing  a  tablet  in  light  green  against  a 
mauve  ground ;  a  skull  in  the  pediment,  winged  horses  in  red,  gold,  and 
light  green  at  the  base.  4.  (F.  25)  A  three-quarter  border  in  the  form 
of  a  tablet  painted  in  mauve  on  a  rose  ground,  introducing  vases,  jewels, 
emblems,  scrolls,  fruit,  and  the  Medici  arms.  5.  (F.  36)  A  three- 
quarter  border  of  tablet  design  somewhat  similar  to  the  preceding, 
but  containing  two  heads  of  men  painted  in  mauve.  6.  (F.  38  v.)  A 
tablet  occupying  the  lowest  third  of  the  page,  painted  in  light  green,  red, 
brown,  and  gold,  and  supported  by  two  turtles. 

The  illuminations  are  very  beautifully  and  delicately  painted.  The 
manuscript  is  from  the  collection  of  Baron  de  La  Roche  Lacarelle. 


PRAYER-BOOK  — PRECES  PI^E  161 

PRAYER-BOOK.  —  See  Ghebedte. 

PRECES   PI.E.     Circa  1310. 

4to,  red  levant  morocco  covered  with  a  superb  original 
design  of  conventionalized  flowers  and  scrolls^  in  mosaic  of 
dark  and  light  green,  citron,  and  ivory  morocco,  vellum  linings, 
gilt  edges,  by  The  Club  Bindery;  Leon  Maillard,  finisher. 
In  a  case  of  red  levant  morocco. 

A  Flemish  manuscript  executed  in  gothic  characters  upon  vellum  about 
1310.     163  X  114  mm. 

It  contains  218  leaves,  including  6  for  the  Calendar,  with  19  lines  to 
the  page.  There  are  15  full-page  miniatures,  12  of  medium  size  in  the 
Calendar,  9  large  historiated  initials,  and  16  small  figures  in  a  border, 
making  52  paintings  in  all,  besides  over  175  large  initials  in  burnished 
gold  on  a  ground  of  blue  and  red,  and  numerous  smaller  initials,  chiefly 
in  the  borders  of  blue,  red,  and  burnished  gold  which  surround  every 
page  of  text.  These  borders  have  three  sides,  ending  on  the  outer  margin 
in  monkeys'  heads  painted  in  green  and  red,  or  owls,  peacocks,  and 
other  animals. 

The  subjects  of  the  large  miniatures  are  1.  (F.  7  v.)  The  Annuncia- 
tion. 2.  (F.  8  V.)  The  Nativity.  3.  (F.  9  v.)  The  Adoration  of  the 
Magi.  4.  (F.  10  v.)  The  Flight  into  Egypt.  5.  (F.  11  v.)  The  Trinity; 
St.  Mary  Magdalene  standing  at  the  right  with  her  vase  of  ointment. 
6.  (F.  12  V.)  The  Scourging.  7.  (F.  13  v.)  The  Crucifixion;  surrounded 
by  a  border  of  16  small  miniatures  depicting  Old  Testament  writers, 
8.  (F.  14  V.)  A  full-page  letter  "B"  containing  2  miniatures  in  the  divi- 
sions :  the  Resurrection  and  the  Descent  into  Hell.  9.  (F.  42  r.)  St.  Mary 
Magdalene  kneeling  at  the  feet  of  the  resurrected  Christ.  10.  (F.  60  v.) 
Christ  and  St.  Thomas.  11.  (F.  77  v.)  The  Ascension.  12.  (F.  94  v.) 
The  Descent  of  the  Holy  Spirit.  13.  (F.  115  v.)  A  Dominican  (St.  Dom- 
inick  ?)  preaching  from  a  pulpit.  14.  (F.  135  v.)  St.  Francis  of  Assisi 
preaching  to  the  birds.    15.  (F.  157  r.)  The  I^ast  Judgment. 

The  12  miniatures  in  the  Calendar  represent  scenes  appropriate  to  the 
months,  and  are  painted  on  the  right  side  of  the  page.  The  subjects  of 
the  9  historiated  initials  (folios  41-156)  are  St.  Peter,  St.  Paul,  St.  Lau- 
rence, St.  Stephen,  St.  Margaret,  St.  Nicholas,  St.  Martin,  the  Behead- 
ing of  St.  John  the  Baptist,  and  the  Coronation  of  the  Virgin. 

11 


162  PSALTERIUM 

From  the  hagiographical  indications  in  the  Calendar  of  this  manu- 
script, it  was  written  by  a  Flemish  scribe,  but  the  miniatures  appear  to 
have  been  executed  by  an  English  artist.  They  are  painted  chiefly  in 
deep  blue,  brilliant  red,  and  light  green  on  a  ground  of  burnished  gold. 
It  is  a  superb  example  of  the  art  of  the  scribe  and  miniaturist  at  the  be- 
ginning of  the  fourteenth  century. 

From  the  Bibliotheca  Ilenesiana. 

PSALTERIUM.     S^c.  XIII. 

Svo,  brown  levant  morocco,  gilt  back,  comer  and  centre  or- 
naments of  dark  brown  morocco  stamped  in  gold  on  the  sides, 
the  intervals  filled  in  with  stars,  doubled  with  vellum,  the  old 
coloured  edges  preserved,  by  Riviere. 

An  English  Psalter  written  in  gothic  characters  upon  fine  vellum  in  the 
thirteenth  century.    202  X  137  mm. 

It  contains  117  leaves,  including  4  for  the  Calendar  (which  lacks  folios 
3  and  4,  May  to  August),  and  the  text  has  23  lines  to  the  page.  The 
Calendar,  which  is  written  in  black,  red,  and  blue  characters,  contains 
16  medallion  miniatures  in  colours,  principally  blue  and  red,  on  a  raised 
burnished  gold  ground,  and  8  illuminated  initials.  In  the  text  are  10 
large  historiated  initials  similarly  painted,  depicting  figures  and  animals 
and  averaging  600  X  600  mm.  in  size. 

The  text  is  clearly  written  in  brilliant  black  ink,  with  small  initials  and 
finials  in  red  and  blue  and  larger  initials  in  the  same  colours  heightened 
with  burnished  gold. 

The  last  page,  containing  prayers  in  Latin  and  French,  is  in  larger 
characters  than  the  remainder  of  the  volume,  and  appears  to  have  been 
added. 

PSALTERIUM    Davidis    cum    Cantisis   Ecclesi^    et 

LiTANIA.       S^C.     XIII. 

4to,  in  a  seventeenth  century  binding  of  dark  brown  mo- 
rocco over  oak  boards,  brass  clasps,  gilt  edges.  In  a  modem 
case  of  brown  levant  morocco. 

A  superb  Psalter  executed  in  large  gothic  characters  upon  fine  vellum 
by  either  a  Norman  or  an  English  illuminator  for  the  abbey  of  St.  Peter 
at  Sens  in  the  thirteenth  century.    229  X  162  mm. 


PSALTERIUM  163 

It  contains  191  leaves,  including  6  for  the  Calendar  (folios  26-31),  with 
20  lines  to  the  page.  The  first  25  leaves  contain  50  large  circular  minia- 
tures, two  on  each  folio  (about  57  X  57  mm.)  within  ornamental  panels 
(148  X  81  mm.)  in  rose,  blue,  and  burnished  gold.  There  are  also  217 
small  miniatures,  —  6  within  the  border  of  the  first  miniature,  24  in  the 
Calendar,  and  187  in  the  form  of  historiated  initials. 

Every  page  of  text  is  beautifully  and  elaborately  ornamented  with 
designs  of  the  most  varied  character,  small  initial  letters,  marginal 
tracery  in  red  and  blue,  and  finials  in  the  form  of  fish,  birds,  and  gro- 
tesques in  gold  and  black. 

The  subjects  of  the  large  miniatures  are  1-2  (F.  1  v.)  David  playing 
the  harp  and  slaying  Goliath,  forming  the  upper  and  lower  compart- 
ments in  the  initial  letter  "B";  the  6  small  miniatures  in  the  corners 
and  at  the  sides  represent  musicians  playing  on  the  viol,  the  cithern,  the 
organ,  etc,  3-4.  (F.  2  v.)  The  Annunciation  and  the  Visitation  of  Eliza- 
beth. 5-6.  (F.  3  r.)  The  Nativity  and  the  Announcement  to  the  Shep- 
herds. 7-8,  (F.  4  V.)  The  Magi  journeying  towards  Jerusalem  and 
before  Herod,  in  whose  ear  a  fiend  is  whispering.  9-10.  (F.  5  r.)  The 
Adoration  of  the  Magi  and  the  Magi  warned  of  God  in  a  dream;  they 
are  represented  as  lying  in  one  bed,  two  of  them  asleep,  the  third  wakened 
by  the  Angel's  touch.  11-12.  (F.  6  v.)  Herod  directing  the  slaughter  of 
the  Innocents,  a  fiend  whispering  in  his  ear,  and  the  Flight  into  Egypt, 
idols  falling  from  their  pedestals  as  the  Holy  Family  approaches,  13-14. 
(F.  7  r.)  The  Marriage  Feast  at  Cana  and  the  Baptism  of  Christ  by  John 
the  Baptist;  an  angel  stands  at  the  right  holding  Christ's  garments. 
15-16,  (F.  8  V,)  The  Presentation  in  the  Temple  and  the  Devil  tempting 
Christ  to  turn  stones  into  bread,  17-18,  (F,  9  r,)  Christ  tempted  of  the 
Devil  on  the  pinnacle  of  the  Temple  and  the  Devil  offering  Him  the 
riches  of  the  world,  symbolized  by  golden  vessels  upon  which  Christ 
treads.  19-20.  (F.  10  v.)  The  Transfiguration  and  Christ  casting  out 
devils,  21-22.  (F.  11  r.)  Christ's  Triumphal  Entry  into  Jerusalem  and 
Judas  bargaining  with  the  Jews  for  the  thirty  pieces  of  silver.  23-24. 
(F.  12  V.)  The  Betrayal  and  Christ  in  the  Judgment  Hall  of  Pilate;  at 
the  left  St.  Peter  warming  his  hands.  25-26.  (F.  13  r.)  The  Scourging 
of  Christ  and  Judas  hanging  himself.  27-28.  (F.  14  v.)  Pilate  washing 
his  hands  and  Christ  bearing  the  Cross.  29-30.  (F.  15  r.)  Christ  cruci- 
fied with  the  two  Thieves  and  the  Descent  from  the  Cross.  31-32.  (F. 
16  V.)  The  Entombment  and  the  Resurrection.    33-34,  (F.  17  r,)  The 


164  PSALTERIUM  ET  HYIVINARIUM 

Visit  of  the  three  Maries  to  the  Sepulchre  and  Christ  delivering  the 
Spirits  of  the  Just  from  Limbo.  35-36.  (F.  18  v.)  St.  Mary  Magdalene 
and  Christ  in  the  Garden  and  Christ  on  the  road  to  Emmaus.  37-38, 
(F.  19  r.)  The  Supper  at  Emmaus  and  the  Incredulity  of  Thomas.  39-40. 
(F.  20  V.)  The  Ascension  and  the  Descent  of  the  Holy  Spirit;  the  Virgin 
Mary  is  not  in  the  group  as  she  always  is  in  later  manuscripts.  41-42. 
(F.  21  r.)  The  Death  and  Coronation  of  the  Virgin.  43-44.  (F.  22  v.) 
Christ  in  Glory  and  the  Resurrection  of  the  Dead.  45-46.  (F.  23  r.) 
The  Entry  of  the  Blessed  into  Heaven  and  the  Wicked  dragged  to  Hell 
by  two  Devils.  47.  (F.  24  v.)  God  the  Father  holding  the  Spirits  of  the 
Saved  in  His  bosom;  surrounding  Him,  in  small  compartments,  are 
crowned  heads.  The  intention  was  doubtless  to  represent  the  Mansions 
of  the  Blest.  48.  (F.  24  v.)  The  Lost  Souls  in  the  Jaws  of  Hell,  among 
them  Kings,  Queens,  Bishops,  and  Priests.  49-50.  (F.  25  r.)  The  Devil 
weighing  souls,  the  contest  with  an  angel  and  the  departure  to  Heaven 
and  Hell. 

The  24  small  miniatures  in  the  Calendar  are  circular  in  form,  on  the 
outer  margins,  and  depict  scenes  appropriate  to  the  months  and  the 
zodiacal  signs.  The  187  historiated  initials  illustrate  either  the  Psalms 
in  their  ordinary  meaning  or  the  scribe's  interpretation.  They  measure 
about  25  X  25,  34  X  12,  and  55  X  55  mm. 

All  of  the  paintings  are  executed  with  admirable  skill,  and  are  re- 
markable for  drawing,  physiognomy,  and  fresh  colouring. 

The  Calendar  records  St.  Savinianus,  first  Archbishop  of  Sens  (August 
25),  St.  Amatus  (September  13),  and  St.  Bertharius  (October  16),  whose 
festivals  are  also  kept  at  St.  Peter's  Abbey,  Sens. 

PSALTERIUM   ET   HYMNARIUM.    S^c.  XV. 

4to,  old  brown  morocco,  the  arms  of  Charles  Brisard-  Tiville 
{d.  1656),  Councillor  in  the  Parliament  of  Paris,  stamped  in 
gold  on  both  covers,  the  sides  and  back  covered  with  small 
tools  representing  spread  eagles,  lions,  and  the  ermine  marks 
found  in  the  arms,  gilt  edges.  In  a  modern  case  of  blue 
morocco. 

A  French  Psalter  and  Hymnary  written  in  large  gothic  characters 
upon  vellum  in  the  fifteenth  century.    208  X  134  mm. 


PSALTERIUM  165 

It  contains  257  leaves,  including  6  for  the  Calendar  and  5  other  pre- 
liminary folios  containing  directions  for  using  the  Calendar.  The  only 
illuminations  consist  of  12  small  miniatures  (20  X  35  mm.)  in  the  pages 
containing  the  Calendar,  8  borders  of  flowers,  foliage,  scrolls,  and  gro- 
tesques on  a  dull  gold  background  and  several  hundred  illuminated 
initials  of  various  sizes. 

PSALTERIUM.    S^c.  XV. 

[Folio  17]  Incipit  liber  hymnoril  uel  foliloquioru.  ppheta 
dauid.  de.  xpo.  [Folios  162-181]  Cantica  yfaye  prophe.  .  . 
moyfi  .  .  .  Zacharie  .  .  .  Ambrofii,  Athanafii,  etc.  [Folios 
183-218  r.]  Paffio  domini  nri  ihu  xpi,  fcd'm  matheum  .  .  . 
marcum  .  .  .  lucam  .  .  .  Johem.  [Folios  218  v.  -  235] 
Orationes.    4to,  old  red  velvet,  gilt  edges. 

A  finely  executed  Spanish  Psalter  written  in  gothic  characters  upon 
vellum  in  the  fifteenth  century.     244  X  168  mm. 

There  are  236  leaves,  including  12  for  the  Calendar  and  4  for  the 
Tabula,  with  19  lines  to  the  page.  Folio  182  is  blank  and  the  last  leaf 
contains  a  prayer  in  different  calligraphy  from  the  rest  of  the  manuscript. 

The  illuminations  consist  of  12  large  historiated  initials  (about  147  X 
147  mm.)  painted  in  colours  and  burnished  gold,  and  accompanied  by 
beautiful  tracery  borders  in  black  and  burnished  gold  introducing  flowers, 
birds,  angels,  and  animals.  There  are  also  7  large  floriated  initials  with 
sprays  of  flowers  in  the  margin,  and  numerous  smaller  letters  in  blue 
and  burnished  gold,  with  pen  tracery  along  the  margins. 

The  first  miniature  (folio  17)  is  larger  than  the  others  (74  X  74  mm.) 
and  the  border  on  this  page  contains  at  the  foot,  within  interlacing 
bands  of  blue  on  a  gold  ground,  a  coat-of-arms  painted  in  gold  and 
colours  and  repeated  in  the  border  on  folio  128  verso. 

Of  the  12  miniatures,  5  represent  David  in  different  scenes  (folios  17  r., 
38  v.,  52  v.,  80  r.,  and  96  v.),  2  are  of  God  the  Father  (folios  66  r.  and 
128  v.);  the  painting  on  112  r.  depicts  a  mass  led  by  two  bishops.  The 
last  (folios  183-211)  are  of  the  Evangelists,  the  borders  on  these  pages 
being  lateral  instead  of  full-page. 

The  rubric  on  folios  222-223  is  in  the  Catalan  dialect,  which  indicates 
the  nationality  of  the  scribe;  the  borders,  however,  are  painted  in  the 
Italian  manner. 


166  PSALTERIUM  —  SAUVAIGE 

PSALTERIUM.    S.ec.   XVI. 

Large  folio,  contemporary  French  binding  of  red  moroccOy 
the  arms  of  Cardinal  Geronimo  Grimaldi,  Archbishop  of 
Aix  (1597-1655-85)  stamped  in  gold  on  both  covers  within 
borders  composed  of  flowers  and  fleurs-de-lys,  gilt  edges. 

A  French  Psalter  beautifully  written  in  large  roman  characters  of 
black  and  red  upon  vellum,  presumably  during  the  first  half  of  the  six- 
teenth century.    398  X  280  mm. 

It  contains  56  leaves,  with  22  lines  to  the  page,  7  floral  culs-de-lampe 
and  a  large  spray  of  flowers  on  the  last  page,  12  elaborately  painted 
initial  letters  (about  52  X  52  mm.)  in  blue  on  a  burnished  gold  ground 
of  diaper  pattern  in  red,  61  other  large  initial  letters  in  burnished  gold, 
and  numerous  smaller  ones  in  red.  The  headings  of  each  division  of  the 
volume  are  in  letters  of  blue  and  shaded  gold,  and  the  text  is  enclosed 
within  outline  borders  of  red  and  gold. 

PSALTERIUM.  — See  Bonaventura,  St. 

SAUVAIGE,   Alexandre. 

[Letiquette  des  temps,  ou  les  memorables  choses  de  tous 
les  temps]  A  Ihault  et  puiffant  feigneur  monfeigneur  meffire 
francoys  de  Rochechouart  cheualier  feigneur  de  Champ- 
demer.  Confeiller  et  chambellan  ordinaire  de  trefhault 
trefpuiffant  et  trefexcellens  prince  Loys  douziefme  de  ce 
nom  roy  de  france  [1498-1515] :  son  lieutenant  general  et 
gouuerneur  en  fa  duche  et  feigneurie  de  gennes  et  fenefchal 
de  thouloze.  Prologue  de  alexandre  fauuaige.  En  lethiquette 
des  temps.  [XVI  Siecle].  Folio,  old  red  straight-grain 
morocco  tooled  in  floral  borders  of  gold,  gilt  edges. 

An  exquisite  French  and  Italian  manuscript  written  in  lettres  hatardes 
upon  fine  vellum  in  the  beginning  of  the  sixteenth  century  for  Francois 
de  Rochechouart,  to  whom  it  is  dedicated  and  whose  arms  are  emblazoned 
in  seven  places, —  three  times  on  folio  2.    331  X  225  mm. 

It  contains  121  leaves,  with  27  lines  to  the  page.  There  are  3  large 
miniatures  exquisitely  painted  in  sepia  and  blue  heightened  with  gold. 


SCRIBE'S  SAMPLE-BOOK  167 

and  125  small  miniatures,  7  of  circular  form  in  the  border  on  folio  2 
verso,  1  on  the  lower  margin  of  folio  8  recto,  and  117  above  the  initial 
letters,  of  which  there  are  127  (about  35  X  38  mm.)  painted  in  gold  on  a 
decorative  ground  of  sepia.  The  illuminations  were  evidently  painted 
by  a  skilled  Italian  artist,  whereas  the  scribe  was  French. 

The  subjects  of  the  large  miniatures  are  1.  (F.  2  v.)  A  painting  divided 
by  trees  into  three  parts :  at  the  right,  the  Creation  of  Eve,  at  the  left,  the 
Serpent  tempting  Eve,  in  the  centre,  God  creating  the  animals.  At  the 
foot  of  the  border  surrounding  this  miniature,  which  measures  85  X 
138  mm.,  are  the  arms  of  the  original  owner.  2.  (F.  46  v.)  A  Battle  of 
the  Romans  under  Julius  Csesar  against  the  Gauls;  a  scene  of  much 
animation  and  with  a  large  number  of  figures.  In  the  border  are  the 
arms  of  the  original  owner.  3.  (F.  99  v.)  The  Prophecy  of  the  Sibyl 
Tiburtina  to  the  Emperor  Octavius  Caesar;  the  scene  is  a  dais  outside  a 
palace ;   the  Virgin  and  Child  are  painted  in  gold  against  a  blue  sky. 

Surrounding  the  page  containing  the  first  large  miniature  is  a  trilateral 
sepia  border  containing  8  small  medallion  paintings;  one  has  the  arms 
of  the  original  owner  in  red  and  white,  the  others  are  of  Biblical  scenes, 
including  the  Death  of  Abel,  Noah's  Ark,  the  Tower  of  Babel,  the 
Drowning  of  Pharaoh's  Army  in  the  Red  Sea,  and  Moses'  Miracle  of  the 
Brazen  Serpent.  The  subjects  of  the  remaining  small  miniatures  are 
mythological  and  historical,  and  include  the  scribe  presenting  his  work 
to  Fran9ois  de  Rochechouart,  seventeen  gods  and  goddesses,  the  Towers 
of  Troy,  the  Twelve  Labours  of  Hercules,  scenes  from  the  lives  of 
iEneas  and  Dido,  Romulus  and  Remus,  Julius  Caisar,  Cicero,  and  the 
Roman  Emperors,    Books  II  and  III  concern  Julius  Caesar. 

This  manuscript  was  formerly  in  the  collections  of  the  Comte  de 
Mac  Carthy-Reagh  and  George  Hibbert. 

SCRIBE'S  SAMPLE-BOOK.      XV  Century. 
Folio,  contemporary  vellum  binding,  with  ties. 

A  series  of  elegant  Italian  designs  painted  with  great  skill  and 
accuracy  as  models  for  initial  letters  and  accompanying  marginal 
decorations,  executed  chiefly  in  blue  and  red  upon  19  vellum  leaves 
by  Guinifortus  de  Vicomerchato,  of  Milan,  about  1450. 

This  manuscript,  illustrative  of  various  styles  of  decoration  in  the 
form  of  a  text-book,  is  almost  unique. 


168  STATUTES  — SUETONIUS  TRANQUILLUS 

STATUTES. 

[Folio  55]  Li  Conseglieri  siano  Venuti  ogni  prima  setti 
mana  di  octobre  .  .  .  M.D.lxxviii.  4/o,  in  a  Persian  bind- 
ing, 'probably  made  in  Venice,  of  old  red  levant  morocco  cut  out 
to  form  compartments  and  painted  in  gold  and  colours,  the 
Lion  of  St.  Mark  in  the  centre  of  the  recto,  the  arms  of  Coun- 
cillor of  State  Sanudo  on  the  verso,  gauffred  gilt  edges. 

An  Italian  manuscript  of  the  Statutes  of  the  Councillors  of  State  of 
Venice  written  upon  vellum  as  a  gift  from  Marino  Grimani,  Doge  and 
.  Duke  of  Venice,  to  Councillor  of  State  Joseph  Andrea  Sanudo.  223  X 
165  mm. 

The  first  leaf  contains  the  arms  of  Sanudo  within  a  beautiful  and 
elaborate  scroll  border  painted  in  gold  and  colours,  containing  cupids, 
gargoyles,  and  fruit,  the  Lion  of  St.  Mark  being  in  a  cartouche  at  the 
top,  the  date  "1598"  at  the  bottom.  The  second  leaf  contains  the 
dedication  in  gold  letters  surrounded  by  a  rich  border  of  scrolls,  flowers, 
and  cupids. 

The  text  of  the  manuscript  occupies  55  leaves,  the  Tables  5,  following 
5  blank  leaves. 

The  binding  is  in  perfect  state  of  preservation.  From  the  collection 
of  Lord  Orford. 

SUETONIUS  TRANQUILLUS,   Caius. 

Suetonij  Tranquilli  Viri  Illmi  De  Duodeci  Csefaribus. 
Anno  Dni  1433  [Florentise]  Per  Miianum  Burrum.  4to, 
old  dark  brown  Italian  binding  with  side  panels  and  orna- 
ments in  gilt,  the  arms  of  Gabriel  Giolito  (fl.  about  1540-1560), 
the  printer  of  Ferrara,  on  both  covers,  gauffred  gilt  edges.  In 
a  modem  case  of  brown  morocco. 

An  Italian  manuscript  of  Suetonius'  Lives  of  the  Twelve  Ccesars 
beautifully  written  in  roman  characters  upon  vellum  by  Milanus  Burrus 
of  Florence,  in  1433.     254  X  191  mm. 

There  are  169  leaves,  including  the  illuminated  title,  with  30  lines  to 
the  page,  12  beautiful  large  miniatures,  and  12  large  floriated  initials  in 
colours  on  burnished  or  dull  gold  grounds. 


SUETONIUS  TRANQUILLUS  169 

This  beautiful  volume  is  one  of  the  rare  examples  extant  of  a  classical 
manuscript  decorated  with  miniatures  of  the  first  order,  and  it  is  especially 
remarkable  in  giving  the  name  of  the  artist  and  the  date  of  its  execution. 
The  twelve  miniatures  represent  imaginative  figures  of  the  Roman  em- 
perors and  afford  a  valuable  illustration  of  early  fifteenth  century  cos- 
tumes. Their  subjects  are  1.  (F.  3  v.)  The  frontispiece,  representing 
Caius  Julius  Caesar  in  golden  armour,  except  the  greaves,  which  are  of 
silver,  now  oxydized.  In  his  right  hand  he  holds  an  uplifted  sword,  in 
his  left  a  long  spear  with  a  pennon  attached;  beneath  his  feet  are  sym- 
bolical representations  of  the  towns  and  cities  he  subdued.  The  back- 
ground is  of  burnished  gold.  Surrounding  this  figure  is  a  rich  ornamental 
border  of  scrolls  and  flowers  in  colours  on  a  burnished  gold  ground,  with 
ten  compartments,  in  five  of  which  Julius  Caesar  is  represented  as  driving 
a  chariot  with  four  horses  abreast ;  in  three  he  wears  a  helmet,  in  two  a 
crown  of  laurel.  The  other  compartments  represent  Rome,  a  pyramidal 
tent  ( ?)  surmounted  by  a  golden  ball,  Caesar  enthroned  ( ?),  and  his 
death.  2.  (F.  27  r.)  Octavius  Augustus  at  the  left,  crowned  and  wearing 
golden  greaves,  and  a  blue  robe  lined  with  leopard's  skin.  In  his  right 
hand  he  holds  a  sceptre,  in  his  left  a  curious  symbolical  representation  of 
the  world;  an  outer  circle  in  blue  depicts  the  sky  studded  with  sun, 
moon,  and  stars ;  a  second  circle  in  green  represents  the  sea,  which  sur- 
rounds the  earth,  painted  in  brown,  from  the  centre  of  which  springs  a 
tree ;  the  earth  is  dotted  over  with  crowns,  to  symbolize  the  kingdoms  over 
which  the  Emperor  held  sway.  Opposite  him  stands  the  poet  Virgil  in  a 
red  robe  lined  with  blue  over  a  yellow  tunic ;  in  his  left  hand  he  holds  a 
scroll,  with  his  right  he  points  upward  to  the  vision  of  the  Virgin  and 
Child,  whose  advent  he  is  said  to  have  predicted.  The  background  is  of 
burnished  gold.  The  two  figures  stand  on  a  beautifully  designed  pattern 
of  conventional  foliage  and  flowers.  3.  (F.  59  v.)  Claudius  Tiberius 
crowned  with  laurel  and  clad  in  a  rich  scarlet  robe  trimmed  with  yellow 
ermine,  a  dagger  in  his  right  hand,  a  heart  in  his  left.  He  stands  on  a 
floral  pattern  similar  to  the  one  in  the  preceding  miniature.  The  back- 
ground is  blue  finely  executed  in  diaper- work.  4.  (F,  80  v.)  Caius  Cali- 
gula crowned  with  laurel,  clad  in  a  fur-lined  blue  garment  over  red,  with 
green  hose  and  no  shoes.  In  his  right  hand  is  a  gold  sceptre,  in  his  left  a 
cornucopia,  from  which  issues  a  cockatrice.  He  stands  on  a  red-tiled 
pavement,  the  background  being  of  blue-bordered  diaper-work  in  yel- 


170  SEUTONIUS  TRANQUILLUS 

low,  brown,  and  gold,  in  which  is  a  small  head  in  blue.  5.  (F.  98  r.) 
Claudius  crowned  with  laurel  and  clad  in  a  light-brown  robe  lined  with 
blue  over  red,  in  his  right  hand  a  sceptre,  in  his  left  a  mushroom.  In  the 
upper  left-hand  corner  is  a  phoenix  surrounded  by  flames.  The  pavement 
is  of  green  marble,  the  background  of  burnished  gold  surrounded  by  blue. 
6.  (F.  113  r.)  Two  compartments,  in  the  upper  of  which  is  a  Muse  (?) 
seated  on  a  marble  slab  tuning  a  lute;  beneath  her,  on  the  ground,  sits 
Vulcan  (Tubal  Cain.?)  striking  an  anvil  with  two  hammers.  In  the 
lower  and  larger  compartment  stands  Nero,  crowned  with  laurel,  clad  in 
a  fur-trimmed  red  and  gold  robe  over  red,  in  his  right  hand  a  sceptre,  in 
his  left  a  harp.  The  ground  of  both  miniatures  is  of  foliage  as  in  Nos.  2 
and  3,  the  backgrounds  in  light  brown  (upper)  and  blue  (lower)  with  white 
ornaments.  7.  (F.  131  v.)  Sergius  Galba  crowned  with  laurel,  clad  in 
chased  armour  of  silver,  green,  and  gold,  and  holding  a  large  sword. 
The  tiling  is  red,  the  background  blue  with  white  ornaments.  8.  (F. 
139  r.)  Otho,  crowned  with  laurel,  and  clad  in  a  curious  full  robe  of  red 
trimmed  with  fur  over  green.  In  his  right  hand  is  a  sceptre,  his  left  is 
raised,  as  if  in  speech.  The  pavement  is  red  marble,  the  background  a 
diaper  pattern  in  dark  brown,  silver,  and  gold.  9.  (F.  143  v.)  Aulus 
Vitellius,  crowned  with  laurel,  and  wearing  a  blue  robe  brocaded  with 
gold  and  trimmed  with  fur,  his  arms  covered  with  silver  brassarts.  In 
his  right  hand  he  holds  a  long-handled  spear ;  his  left  grasps  his  golden 
girdle.  The  floor  pattern  is  the  same  as  in  Nos.  2  and  3,  the  back- 
ground diapered  in  red  with  blue  points.  10.  (F.  149  v.)  Vespasian, 
conqueror  of  Judaea,  holding  in  his  right  hand  an  uplifted  sword,  on  his 
left  arm  a  representation  of  the  Temple  of  Jerusalem.  His  armour  is 
for  the  most  part  hidden  by  a  red  toga  lined  with  blue.  The  background 
is  burnished  gold,  the  lower  part  of  the  painting  as  in  the  preceding. 
11.  (F.  157  r.)  Titus  in  the  rich  dress  of  a  Florentine  gallant  of  the  fif- 
teenth century,  —  a  blue  tunic  shot  with  gold,  the  sleeves  being  very  long 
and  full  over  tight-fitting  green  sleeves.  He  is  crowned  with  laurel  and 
carries  a  large  sword.  The  tiling  is  rose-coloured,  the  diapered  back- 
ground in  red  and  blue.  12.  (F.  160  v.)  Domitian  in  a  fur-lined  scarlet 
costume,  crowned  with  laurel  and  carrying  a  raised  sword  in  his  right 
hand,  with  the  left  grasping  his  gold  girdle.  He  stands  on  the  same  ground 
as  in  Nos.  2  and  3,  the  green  of  which  contrasts  admirably  with  the  dark 
blue  in  the  diapered  background. 


SUETONIUS  TRANQUILLUS— TACITUS  171 

At  the  foot  of  folio  4  are  the  arms  of  the  person  for  whom  the  manu- 
script was  made,  a  red  cross  on  a  dark  brown  ground,  and  on  each  side 
the  initials  "I"  and  "O"  in  gold. 

SUETONIUS  TRANQUILLUS,   Caius. 

[Folio  1]  Suetonii  Tranquilli  de  Duoecim  [sic]  Csesaribus : 
Opus  Elegantissimum  feliciter  incipit.  Et  primo  de  lulio 
Csesare.  [Ssec.  XV].  Folio,  dark  brown  levant  morocco,  blind- 
tooled  in  an  old  French  design  of  panels  introducing  fleurs- 
de-lySy  gilt  edges,  by  Triquillier. 

An  Italian  manuscript  of  Suetonius'  Lives  of  the  Twelve  Ccesars  written 
upon  paper  during  the  first  part  of  the  fifteenth  century.    282  X  207  mm. 

There  are  121  leaves,  and  the  text  has  37  lines  to  the  page.  On  the  first 
folio  is  an  elaborate  border  of  scrolls  in  white,  rose,  green,  and  gold  on  a 
ground  of  blue,  painted  in  the  Italian  manner,  introducing  animals  and 
three  subjects  in  small  medallions.  At  the  foot  are  the  arms  of  a  bishop 
supported  by  two  cupids. 

Scattered  through  the  volume  are  11  large  initial  letters  in  burnished 
gold  on  a  ground  of  green,  rose,  and  blue  or  of  scrolls  similar  to  those  in 
the  border  on  folio  1.  At  the  beginning  of  the  volume  is  a  large  historiated 
initial  in  colours  heightened  with  gold. 

At  the  foot  of  folio  1  is  written  "Caroli  Calcagnini,"  presumably  the 
signature  of  Carlo  Leopoldo  Calcagnini  (1678-1746),  who  was  created 
Cardinal  in  1743  by  Pope  Benedict  XIV. 

TACITUS,  PuBLius   Cornelius. 

Annales,  Libri  XI-XVI  et  Historise,  Libri  I-V.  [Saec. 
XV].  Large  Mo,  dark  brown  levant  morocco  covered  with  a 
Medicean  design  in  blind-tooled  compartments,  ornamented 
with  gold  and  red  dots,  doubled  with  vellum,  gilt  edges,  by 
Gruel. 

An  Italian  manuscript  of  the  last  six  books  of  Tacitus'  Annals  and  the 
five  books  of  his  Histories,  written  upon  fine  vellum  in  the  fifteenth  cen- 
tury.    265  X  190  mm. 


172  TERENTIUS  AFER 

Two  scribes  appear  to  have  worked  upon  the  volume,  as  the  first  part  is 
in  gothic  characters  and  the  second  in  roman.  The  break  occurs  on  the 
recto  of  folio  126,  in  the  second  book  of  the  Historioe.  In  the  fourth  book 
two  lacunae  are  indicated  on  folios  176  recto  and  203  verso  by  the  words 
"Hie  est  fragmentatus."  Folio  1  begins,  in  letters  of  gold,  "Fragmentum 
Libri  undecimi  Cornelii  Taciti  feliciter  incipit."  The  last  leaf  ends, 
"Finis  eius  quod  Cornelii  Taciti  reperitur." 

There  are  218  leaves,  with  26  lines  to  the  page.  Folio  83,  between  the 
two  works,  is  blank. 

The  illuminations  in  the  volume  consist  of  a  rich  border  on  the  recto  of 
folio  1,  and  10  initial  letters  in  blue  and  red,  gold  and  black,  etc.,  be- 
ginning each  book  after  the  first.  The  border  is  of  intricate  design  com- 
posed of  white  scrolls  on  a  blue  ground  flecked  with  white,  red  and  green 
being  added,  the  lower  and  outer  sides  broken  by  an  ornamental  band  in 
red,  silver,  brown,  and  gold  outlined  with  gilt  fillets.  Birds,  insects, 
cupids,  and  fruit  occur  as  ornaments ;  on  the  outer  margin  is  a  medallion 
portrait  of  Tacitus  in  ivory  on  a  blue  ground ;  at  the  bottom  of  the  page 
are  the  quartered  arms  of  the  original  owner  painted  in  gold  and  colours. 

The  initial  letter  on  folio  137  recto  is  more  elaborate  than  the  others, 
gold  outlined  with  red  on  a  blue  ground,  intricate  white  scrolls  being 
added  as  ornaments. 

TERENTIUS  AFER,   Publius. 

Terentii  Comoediae  cum  Notis.  Accedunrt  Epitaphia  tres 
Ulysis  de  Lambertinis  composita  a  Bartholomeo  Cantello 
et  Johanne  Batista  de  Auro.  [Ssec.  XV^  Folio,  citron 
levant  morocco. 

An  Italian  manuscript  of  Terence's  Comedies  written  in  roman  char- 
acters upon  vellum  in  the  fifteenth  century.    263  X  189  mm. 

There  are  108  leaves  with  30  lines  to  the  page,  dividied  as  follows:  1. 
"Andria,"  folios  1-18  verso.  2.  "Eunuchus,"  18  v.-37  r.  3.  "Heauton- 
timoroumenos,"  37  V.-55  r.  4.  "Adelphi,"  55  r.-72  v.  5.  "Hechyra," 
73-88  r.  6.  "Phormio,"  88  r.-106  r.  Folio  107  contains  notes  on  five 
of  the  Comedies  written  in  uncial  characters  in  red  ink.  Folio  108  con- 
tains two  epitaphs  by  Cantellus  and  de  Aurus,  and  two  lines  of  a  third 
by  the  former. 


TRAICTE  173 

There  are  8  large  initial  letters  painted  in  yellow  on  a  blue  ground  with 
white  ornaments,  and  on  the  verso  of  folio  1  is  a  larger  initial  painted  in 
dull  gold  on  blue  with  scrolls  of  white,  rose,  and  green  in  the  Italian 
manner  forming  a  lateral  border. 

At  the  head  of  folio  36  verso  is  written  in  a  cursive  hand,  "Dominus 
Annibal  Luccius  fecit;"  on  folio  59  recto,  in  the  same  hand,  "Josef 
Granata  fecit." 

From  the  collections  of  Michael  Wodhull  and  J.  E.  Severne. 

TRAICTE  de  Peyne  Poeme  allegorique  dedie  a  Monseign- 
eur  et  a  Madame  de  Lorraynne.  [XVI  Siecle].  12wo, 
brown  levant  morocco,  Janseniste,  vellum  linings,  gilt  edges, 
by  Trautz-Bauzonnet. 

A  French  allegorical  poem  written  in  gothic  characters  upon  vellum 
during  the  first  part  of  the  sixteenth  century.    162  X  111  mm. 

It  consists  of  20  leaves,  and  the  text  has  18  lines  to  the  page.  There  are 
16  miniatures  painted  in  camaieu  d'or  and  gris,  of  which  the  first  is  of  full- 
page  size  and  the  others  half-page,  all  surrounded  by  gold  borders.  The 
initial  letters  and  finials  are  in  gold  on  a  ground  of  black. 

The  subjects  of  the  miniatures,  which  depict  the  architecture  and  cos- 
tumes of  the  period  of  Fran9ois  I,  are  the  three  authors  of  the  poem,  poet, 
artist,  and  scribe  (who  are  also  the  heroes),  seated  at  a  writing-table  com- 
posing the  poem;  the  three  on  horseback;  the  Seigneur  and  Dame  de 
Lorraine  (Goodwill  and  Charity)  receiving  the  three  pilgrims,  in  the  back- 
ground two  towers  with  a  draw-bridge ;  the  interior  of  the  chateau,  — 
the  Seigneur  inviting  the  pilgrims  to  remain  with  him ;  the  pilgrims  taking 
leave  of  their  host  and  hostess,  under  the  guidance  of  Understanding; 
crossing  the  torrent  of  Penalty;  the  Captain,  Pity,  receiving  them  at  the 
entrance  of  the  Castle  of  Servitude;  the  pilgrims  prostrating  themselves 
in  the  court  of  a  ruined  castle  before  Understanding  and  Pity ;  Pity  com- 
forting them  and  presenting  to  them  Length  of-Time,  Sadness,  Grief, 
Regret,  Ennui,  Distaste,  and  Disdain ;  their  visit  to  the  Castle  of  Sorrow ; 
their  arrival  at  the  Place  of  Distress,  on  the  portals  of  which  is  written 
"Seigneurs,  ostez  joye  de  vastre  esprit;"  a  bed-chamber  in  the  Castle  of 
Sorrow;  in  the  canopied  bed,  "of  little  repose,"  is  an  invalid;  in  a  tub 
near  by  a  man  bathing;  the  three  penitents,  enfeebled  and  depressed, 
beside  a  tub  filled  with  sulphur  water;  with  their  guide  in  the  Gallery  of 


174  XENOPHON 

Alleviation,  the  arches  of  which  resemble  a  gothic  cloister;  Understand- 
ing conducting  them  to  the  Steps  of  Healing,  at  the  top  of  which  stands  the 
porter,  Good  Regime ;  their  departure  from  the  Place  of  Distress  through 
the  Tower  of  Health. 

The  "Monseigneur  de  Lorraynne"  to  whom  the  poem  is  dedicated  was 
presumably  Fran9ois,  due  de  Lorraine,  who  died  in  1544.  The  Chateau 
d'Arches,  where  the  action  takes  place,  is  situated  near  Epinal,  in  the 
Vosges.  The  manuscript  was  discovered  in  the  Chateau  de  Guise,  in 
1793. 

The  poem  was  published  in  Paris,  in  1867,  with  a  Preface  by  Eugene 
Paillet.    The  only  copy  printed  upon  vellum  is  in  this  library. 

XENOPHON. 

[Folio  1]  Poggij  florentini  prefatio  in  librof  xenofontis 
defuperiorif  Cyrri  uita  ad  Sereniffimum  Principem  Alfonfum 
Aragonte  Regem  [Alfonso  V,  King  of  Aragon,  Naples,  and 
Sicily,  1385-1458]. 

[Colophon]  Explicit  Sextuf  et  ultimuf  liber  Zenophontif 
defuperiorif  Cyri  uita  Tranflatuf  per  poggium  florentinum 
Oratorem  pleclariffimum  feliciter  Amen.  [Saec.  XV].  Small 
jolio,  original  Italian  calf  binding  blind-tooled  in  panels  with 
leather  and  brass  clasps,  doubled  with  vellum,  gilt  edges. 

An  Italian  manuscript  of  the  translation  of  Xenophon's  Life  of  Ci/rus 
by  Giovanni  Francesco  Poggio  Bracciolini,  beautifully  written  in  cursive 
characters  upon  vellum  in  the  latter  part  of  the  fifteenth  century.  265  X 
155  mm. 

It  contains  121  leaves,  with  27  lines  to  the  page.  On  folio  1  is  a  border 
painted  in  white,  green,  and  rose  scrolls  on  a  blue  ground  heightened  with 
burnished  gold.  At  the  foot  of  the  page  is  a  blank  medallion  intended 
for  a  coat-of-arms.  The  preface  and  the  six  chapters  have  large  initial 
letters  similar  in  design  to  the  border. 


II 

EUROPEAN  AND  AMERICAN    MANUSCRIPTS 

AFTER    1600 


ALFIERI,   ViTTORio,   Count. 

Cleopatra  ed  Antonio,  Tragedia.  4fo,  brown  morocco^ 
tooled  in  a  scroll  and  floral  design,  gilt  edges,  by  Zaehnsdorf. 

The  inedited  Italian  manuscript  of  the  second  of  three  tragedies 
written  by  Alfieri  (1749-1803)  on  the  subject  of  Antony  and  Cleopatra, 
the  third  of  which  only  has  been  printed.  It  is  entirely  in  the  handwrit- 
ing of  the  poet  and  written  upon  Holland  paper.    228  X  175  mm. 

Inserted  is  an  autograph  letter  dated  May  20,  1824,  from  Francesco 
Parigi,  relating  to  the  play. 

ANTONIO  I,  King  of  Portugal.  —  See  Vertron. 

ARISTOTLE.     XVI    Century. 

12mo,  in  a  sixteenth  century  French  (?)  binding  of  brown 
morocco  delicately  tooled  in  panels  of  leaf-sprays  and  other 
small  ornaments,  gilt  edges. 

A  sixteenth  century  French  (.'')  manuscript  written  in  Latin  upon  473 
leaves  of  paper.    143  X  97  mm. 

It  is  divided  into  three  parts :  a  History  of  Rome  from  the  time  of  Christ, 
Transcriptions  from  Aristotle,  and  a  Treatise  on  Mythology,  and  is 
chiefly  interesting  on  account  of  its  fine  contemporary  binding. 

AVRIL,   Paul. 

Histoire  d'une  Epingle.  [XIX  Siecle].  8vo,  blue  levant 
morocco,  mosaic  side  borders  of  maroon  and  brown  morocco 
tooled  in  fillets,  small  floral  ornaments  and  scrolls,  arms  in 

12  177 


178  BALLADES  — BEDFORD  MISSAL 

the  centre^  gilt  and  mosaic  hack,  doubled  in  rose  morocco  with 
wide  mosaic  borders  of  maroon,  blue,  citron,  red,  and  mauve 
morocco,  rich  scroll  tooling,  mauve  silk  guards,  gilt  edges, 
with  the  original  covers,  by  Mercier. 

A  modern  French  manuscript  beautifully  written  upon  the  rectos  of 
27  leaves  of  paper,  and  illustrated  by  66  large  and  small  original  water- 
colour  drawings  by  Paul  Avril. 

BALLADES  Fran9aises  des  Rois  Princes  &  Seigneurs  du 
Moyen  Age  Par  H^  Middle  Fils  Peintre  Rubricateur  1840. 
[1846].  Large  jolio,  light  brown  calf,  gilt-tooled  borders,  the 
title  painted  upon  the  front  cover  in  gold  and  colours  upon 
vellum  in  the  form  of  a  banner  in  the  centre  of  sunken  panels, 
gilt  edges. 

A  modern  French  manuscript  executed  by  Henry  Midolle  in  gothic 
letters  of  black,  red,  and  blue  upon  18  leaves  of  vellum  paper.  450  X 
300  mm. 

The  title  and  four  other  folios  have  very  elaborate  full-page  borders 
illuminated  in  brilliant  colours  heightened  with  gold,  and  every  page 
contains  large  and  small  illuminated  initials. 

BEDFORD   MISSAL. 

An  account  of  a  rich  illuminated  Missal  executed  for 
John,  Duke  of  Bedford,  Regent  of  France  under  Henry  VI, 
and  afterwards  in  the  Possession  of  the  late  Duchess  of 
Portland  [by  Richard  Gough].  London,  Printed  by  J. 
Nichols,  for  T.  Payne,  .  .  .  MDCCXCIV.  Uo,  crimson 
velvet,  white  moire  silk  linings,  gilt  edges.  In  a  crimson  silk 
case. 

A  unique  copy,  containing  a  facsimile  of  the  text  of  a  page  of  the 
Missal  and  3  outline  plates  accompanied  by  copies  upon  vellum  in  fac- 
simile of  three  of  the  original  miniatures,  cleverly  painted  in  gold,  silver, 
and  colours. 


BIBLIA  PAUPERUM  — BOUTON  179 

The  subjects  of  the  miniatures  are  1.  The  Duke  of  Bedford  kneehng 
to  St.  George,  surrounded  by  a  border  of  tree-roots  in  gold  with  5  small 
miniatures  containing  martyrdoms  of  saints,  and,  at  the  foot,  the  Bed- 
ford arms.  2.  The  Duchess  of  Bedford  kneeling  to  her  patron  saint, 
Anne,  beside  whom  stand  the  Virgin  Mary  as  a  young  girl  and  the  In- 
fant Christ;  5  miniatures  and  arms  in  the  border.  3.  An  illustration  of 
the  changing  of  the  arms  of  France  from  three  toads  to  three  fleurs-de- 
lys  in  the  reign  of  Clovis,  500  a.  d.  By  an  anachronism  the  central  figure 
of  the  Queen  is  Clotildis. 

BIBLIA  PAUPERUM.     S^c.   XVIII. 

Figurae  XL.  veteris  et  noui  Teftamenti  fe  mutuo  inter- 
pretantes.  Editio  primse  vetuftatis.  Tentamen  artis  iinpref- 
lorise.  Abfque  loco  et  anno.  Sed  circum  M.CCCC.XXXX 
Impreffa.  Folio,  old  red  morocco,  rich  gilt  back  and  side 
borders,  gilt  edges,  by  Derome.    In  a  brown  silk  case. 

An  extraordinary  manuscript  facsimile  copy  of  the  Biblia  Pauperum, 
—  a  collection  of  41  woodcut  designs  (including  the  title-page)  of  the 
principal  historical  subjects  in  the  Bible,  interspersed  with  text  and 
inscriptions  upon  scrolls,  executed  with  the  greatest  exactness  by  Jacques 
Fucien  Leclabart,  in  the  latter  part  of  the  eighteenth  century,  from  the 
first  edition  printed  by  Laurence  Coster  at  Haarlem,  about  1440. 

Inserted  are  five  folios  of  manuscript  describing  the  woodcuts  and 
giving  illustrations  of  the  text. 

From  the  Paris  collection. 

BOUTON,  V. 

La  Gvirlande  de  Ivlle  escripte  par  V.  Bouton  [Paris, 
Juin,  1873].  [Second  title]  La  Gvirlande  de  Ivlie  pour 
Mademoiselle  deRambovillet  Ivlie-Lvcined'Ancennes  escript 
par  N.  larry  1641.  8vo,  blue  levant  morocco  beautifully 
tooled  in  panels  of  garlands,  roses,  and  emblematic  ornaments, 
vellum  linings,  gilt  edges,  by  Motte.  In  a  pigskin  case  lined 
with  chamois-skin. 

A  French  manuscript  facsimile  of  the  second  and  smaller  of  Jarry's 
celebrated  manuscripts  containing  the  poems  addressed  to  Mile,  de 


180  CHAMP  DE  DRAP  D*OR 

Rambouillet.    It  is  beautifully  written  in  italic  characters  by  V.  Bouton 
upon  the  finest  vellum,  within  borders  of  shaded  gold.     188  X  127  mm. 

The  two  title-pages  and  the  initials  throughout  the  volume  are  in 
shaded  gold,  red,  and  blue  letters.  The  first  title  is  within  an  exquisitely 
delicate  pen-and-ink  border  of  emblematic  design,  and  on  the  last  leaf 
is  a  pen-and-ink  ornament  bearing  the  date,  1873. 

CHAMP  DE  DRAP  D'OR. 

Le  Champ  de  drap  d'or.  The  account  of  the  Interview 
between  Henry  8*^  &  Francis  I^.*  near  Guisnes  in  Picardy 
in  the  year  MDXX.  With  a  Particular  Detail  of  all  the 
Magnificent  Ceremonies  there  observed  from  the  Con- 
temporary Chronicles.  [XIX  Century].  4<o,  blue  straight- 
grain  morocco  tooled  on  the  sides  and  back  with  fillets  and 
arabesques,  the  vellum  linings  covered  with  elaborate  designs 
in  compartments  worked  with  small  tools,  gilt  and  gauffred 
edges,  by  Charles  Lewis,  of  whose  bindings  it  is  one  of  the 
finest. 

An  English  manuscript  exquisitely  written  upon  138  leaves  of  vellum 
paper  within  gold  lines  and  upon  one  side  only  of  the  leaf,  in  the  early 
part  of  the  nineteenth  century.    316  X  244  mm. 

It  is  illustrated  by  20  large  and  23  small  drawings  beautifully  painted 
in  oil  and  watercolours  by  R.  T.  Bone  (23),  Stephanoff  (3),  Kenny 
Meadows  (3),  and  Cooper  (2),  a  crayon  portrait  on  blue  paper  of  Fran9ois 
I  by  Harlowe  (folio  100),  39  heraldic  compositions  and  figures  in  mas- 
querade, and  an  elaborate  title  border  by  W  ilkmcnt,  all  painted  with  the 
most  precise  care,  several  being  on  India  paper. 

The  large  paintings  include  the  Field  of  the  Cloth  of  Gold  (folio  2), 
Henry  VIII  and  Queen  Catherine  setting  sail  from  Dover  (folio  9),  the 
populace  drinking  wine  at  the  Fountain  of  Bacchus  in  the  palace-yard  at 
Guisnes  (folio  10),  the  Procession  of  Cardinal  Wolsey  to  the  Court  of 
Fran9ois  I  (folio  20),  King  Henry  VIII  and  his  Queen  receiving  the 
French  ambassador  (folio  21),  Fran9ois  I  receiving  Cardinal  Wolsey 
(folio  23),  Henry  VIII  and  his  Retinue  riding  to  meet  Fran9ois  I  (folio 
26),  the  Meeting  of  the  two  Kings  (folio  30),  the  Conference  of  the  two 
Kings  in  a  tent  (folio  31),  the  Banquet  (folio  32),  the  Meeting  on  the 


CICERO  — CLAUDE  181 

Field  of  the  Cloth  of  Gold  (folio  36),  the  preliminary  Joust  (folio  42), 
the  Encounter  between  the  two  Kings  (folio  48),  the  Visit  of  Fran9ois 
I  to  Henry  VIII  at  the  Castle  of  Guisnes  (folio  54),  the  Meeting  of  the 
two  Queens  (folio  66),  Cardinal  Wolsey  celebrating  mass  before  the 
Royal  Couples  (folio  70),  the  Royal  Banquet  (folio  71),  portrait  of 
Fran9ois  I  by  Bone  after  Titian  (folio  80),  portrait  of  Henry  VIII  by 
Willement  after  Holbein   (folio  83). 

At  folio  110  is  "A  Description  of  the  Basso  Relievos  at  Rouen  which 
represent  the  Interview,"  taken  from  Montfaucon,  and  at  folio  121  is 
"The  Appointment  for  the  King  and  Queen  to  Canterbury,"  etc. 

The  illuminated  arms  of  John  Tobin  are  prefixed  to  the  manuscript. 

CICERO,   Marcus   Tullius. 

Discours  de  Ciceron.  [Vers  1750].  4to,  in  a  beautiful 
binding  of  red  morocco  richly  tooled  "a  foiseau*'  in  broad 
gold  borders,  the  arms  of  Louis  Philibert  Joseph  Joly  de 
Bevy  (1736-1822),  President  of  the  Chamber  of  Deputies  of 
Dijon,  on  both  covers,  floral  back,  blue  moire  silk  linings, 
gilt  edges,  by  Derome  the  younger.  In  a  modern  case  of  red 
morocco. 

A  French  manuscript  written  in  a  neat  cursive  hand  upon  Holland 
paper  about  1750.     224  X  178  mm. 
87  leaves,  numbered  v-x  and  1-168. 

CLAUDE,   Isaac. 

Le  comte  de  Soissons  Nouuelle  galante  Imprime  a  Cologne 
Chez  Pierre  Marteau  [Hollande]  1687.  8vo,  old  French  red 
morocco,  richly  tooled  in  borders  and  comer  ornaments  of 
scrolls  and  dots,  doubled  with  red  morocco  similarly  tooled 
in  broad  borders  of  gold,  gilt  edges. 

An  eighteenth  century  French  manuscript  written  in  a  cursive  hand 
upon  135  leaves  of  Holland  paper.     185  X  120  mm. 

Although  this  is  a  neatly  written  manuscript,  the  volume  is  mainly 
interesting  because  of  the  binding,  which  is  original  in  design,  well  exe- 
cuted, and  in  fine  ^<widition. 


182  COMEDIE  — CONTRATS  DE  MARIAGE 

C0M£DIE  Admirable  Intitvlee  La  Merveille,  Ou  Ton  voit 
comme  vn  Capitaine  Fran9ois,  efclaue  du  Soldam  d'Egypte, 
tranfporte  de  fon  bon  fens,  ce  donne  au  Diable  poT  s  af- 
francnir  de  feruitude,  lequel  il  trompe  mefme  fubtillem* 
tant  il  fut  contrainct  luy  rendre  fon  obligation,  [vignette] 
A  Roven,  Chez  Abraham  Couflurier,  au  bas  de  la  rue 
Efcuyere,  [avant  1628],  12mo,  blue  straight-grain  morocco, 
rose  moire  silk  linings,  gilt  edges. 

A  modern  French  manuscript  in  exact  facsimile  of  the  printed  work, 
written  upon  24  leaves  of  vellum,  with  a  pen-and  ink  drawing  on  the 
title  and  several  typographical  ornaments.     171  X  103  mm. 


CONTRATS  DE   MARIAGE. 

Contract  de  Manage,  de  Henry  iiij«  Roy  de  France  et 
de  Nauarre  auec  Marie  de  Medicis  Princesse  de  Florence 
en  suitte  celuy  de  Louis  xiij«  Roy  de  France  et  de  Nauarre 
auec  Anne  d'  Austriche  Infante  d'Espagne.  1643.  12mo, 
original  brown  morocco,  the  arms  oj  Henri  IV ,  the  crowned 
*'i?'*  and  fleurs-de-lys  on  the  recto,  the  arms  of  Louis  XIII, 
the  crowned  *'X"  and  fleurs-de-lys  on  the  verso,  the  two 
crowned  initials  and  fleurs-de-lys  on  the  back,  gilt  edges,  by 
Antoine  Ruette,  the  royal  binder.  In  a  modem  green  morocco 
case. 

A  neatly  written  French  manuscript  of  the  Contracts  of  Marriage  of 
Henri  IV  and  Louis  XIII  executed  upon  54  leaves  of  fine  Holland  paper 
in  the  seventeenth  century,  probably  for  Anne  of  Austria,  for  court  use. 
154  X  111  mm. 

The  title  is  written  within  an  engraved  border  of  architectural  design, 
the  centre  and  bottom  cartouche  of  which  have  been  cut  out  to  admit 
the  writing.  At  the  top  are  the  arms  of  Henri  IV  and  Marie  de  Medicis. 
Inserted  are  portraits  of  the  two  kings  and  queens,  the  first  two  engraved 
in  1610  by  L.  Gaultier  after  N.  de  Mathoniere,  the  last  two  by  Balthasar 
Moncornet. 


CONTRATS  DE   MARIAGE  —  DENON  183 

CONTRATS  DE   MARIAGE. 

Deux  contracts  de  manage  le  premier  de  Henry  iiij 
dheureuse  memoire  Roy  de  France  et  de  Nauarre  auec  La 
Princesse  de  florence  [Marie  de  Medicis],  du  25«  auril  1600. 
Le  dernier  de  Louis  xiij  son  filz  aussi  Roy  de  France  et  de 
Nauarre  auec  I'lnfante  d'Espagne  [Anne  d'Autriche]  du 
22  aoust  mil  six  cens  et  douze.  12mo,  original  brown  mo- 
rocco, the  arms  of  Louis  XIII  stamped  in  gold  on  both  sides, 
which  are  covered  with  the  crowned  "iJ"  of  Henri  IV  and 
fleurs-de-lys,  gilt  edges. 

One  of  the  attested  copies  of  the  Contracts  of  Marriage  between 
Henri  IV  and  Marie  de  Medici  and  Louis  XIII  and  Anne  of  Austria, 
written  in  itahc  characters  upon  62  leaves  of  Holland  paper  in  the 
seventeenth  century,     163  X  113  mm. 

The  title  is  written  within  a  proof  impression  before  letters  of  an  en- 
graved title-page  of  architectural  and  emblematic  design,  containing  the 
arms  of  Henri  IV  and  Marie  de  Medicis  at  the  top.  Portraits  of  Henri  IV 
engraved  by  Thomas  de  Leu  and  of  Anne  of  Austria  by  Balthasar  Mon- 
cornet  have  been  added. 

The  manuscript  was  presumably  made  for  a  royal  gift. 

DENON,  VivANT. 

[Point  de  Lendemain]  La  Nuit  merveilleuse  ou  le  nee  plus 
ultra  du  plaisir.  Cytheropolis  En  tout  temps.  [Last  page] 
Les  dessins  sont  originaux.  Ecrit  et  Dessine  Par  J.  A. 
Chauvet  1871.  8vo,  citron  levant  morocco,  delicately  tooled 
back  and  side  ornaments  within  panels  of  fillets,  doubled  with 
red  morocco  having  wide  emblematic  borders,  blue  moire  silk 
linings,  gilt  edges,  by  Lortic. 

A  transcript  by  Chauvet  of  Denon's  "Point  de  Lendemain"  with  an 
inserted  episode  of  seven  pages  not  in  the  original.  It  is  beautifully 
written  upon  99  leaves  of  vellum  paper  in  italic  characters  of  black  and 
red  with  blue  initials.  The  page  is  233  mm.  in  height,  the  text,  which  is 
surrounded  by  a  double  ruled  border,  is  95  mm.,  giving  the  appearance 
of  a  large  paper  copy. 


184  DONATION  —  DUMOURIEZ 

The  15  delicately  executed  water-colour  drawings  comprise  a  frontis- 
piece containing  3  medallion  portraits,  the  title-page,  11  free  full-page 
drawings,  a  head-piece,  and  a  cul-de-lampe. 

DONATION  Et  Substitution  Faites  par  tres  haut  et  tres 
Puissant  seigneur  Monseigneur  Fran9ois  Vicomte  d' Aubusson 
de  la  Feliillade,  Due,  Pair  et  Marechal  de  france,  Colonel 
des  gardes  francoises,  gouuerneur  de  Dauphine.  Le  ving 
neuf  Juin  1687.  Confirmee  par  Lettres  patentes  en  forme 
d'Edit  du  mois  de  Juillet  1687.  Enregistrees  au  Parlement 
le  4.  dudit  mois  de  Juillet  1687.  [Engraved  coat-of-arms 
of  the  Vicomte  d' Aubusson  de  la  Feliillade].  4to,  con- 
temporary  French  binding  of  red  morocco,  the  arms  of  Louis 
Boucherat,  chevalier,  comte^Compans  (1616-1699),  stamped 
in  gold  on  both  covers,  finely  tooled  borders  on  the  sides  intro- 
ducing fieurs-de-lys  and  the  cock,  the  central  symbol  in  his 
arms,  gilt  edges. 

A  French  manuscript  beautifully  written  in  italic  characters  upon 
vellum  about  1687.    288  X  220  mm. 

It  consists  of  16  leaves,  including  the  title,  with  23  lines  to  the  page. 
There  are  two  engravings  other  than  the  vignette  on  the  title,  one  heraldic 
and  dedicatory  at  the  top  of  folio  2  recto,  and  one  on  folio  8  recto,  —  the 
medallion  portrait  of  Louis  XIV  with  the  reverse  side  of  the  coin  on  which 
it  appears,  engraved  by  Landry. 

DUMOURIEZ,   Charles  Francois,   translator. 

Histoire  de  la  Guerre  d'Amerique.  [Vers  1782].  12wo, 
red  levant  morocco,  side  borders  tooled  in  interlacing  fillets 
and  dots,  scroll  back,  by  Niedree. 

An  autograph  translation  by  Dumouriez  of  an  abridged  account  in 
English  of  the  Revolutionary  War  in  America,  written  in  a  neat  hand 
upon  56  leaves  of  Holland  paper.     157  X  91  mm. 

Prefixed  is  a  letter  from  Dumouriez  to  Beaumarchais  dated  Cherbourg, 
May  4,  1782,  in  which  he  says  that  he  wishes  to  exchange  the  manuscript 


EVANGELIA  — GRINGORE  185 

for  the  well  known  Beaumarchais  edition  in  octavo  of  the  works  of 
Voltaire, 

EVANGELIA  IN  FESTIBUS    SANCTORUM. 

[Folio  1]  Proprium  de  tempore  die  xxv.  decembris  in 
Nativitate  Domine.  Annuale.  Ad  missam  in  galli  cantu. 
[Ssec.  XVII].    Folio,  crimson  velvet,  silk  ties,  gilt  edges. 

An  exquisite  French  manuscript  of  the  Gospels  for  the  principal 
Saints'  and  Feast  Days  of  the  year  written  in  the  seventeenth  century 
in  roman  characters  upon  vellum  by  Nicolas  Jarry  or  an  artist  of  his 
school.     376  X  251  mm. 

It  contains  51  leaves,  with  23  lines  to  each  page  of  text,  which  is  within 
borders  of  gold  edged  with  maroon.  The  titles  to  each  of  the  50  divisions 
are  written  in  red,  blue,  and  gold,  and  preceded  by  beautiful  vignette 
miniatures  appropriate  in  subject  to  the  accompanying  text.  There 
are  also  50  large  initial  letters  in  gold  within  square  gold  borders  contain- 
ing flowers,  foliage  scrolls,  etc.,  in  brilliant  colours,  and  45  culs-de-lampe, 
some  of  them  of  full-page  size,  in  designs  of  flowers,  fruit,  birds,  and 
figures.  The  subjects  include  the  Virgin  and  Child  (f.  21),  St.  Dionysius 
(f.  22),  the  Child  Christ  (f.  27  v.),  Christ  with  the  Beloved  Disciple 
lying  on  his  bosom  ("In  Coena  Domini,"  f.  34  v.),  St.  John  the  Bap- 
tist (f.  43),  the  heads  of  St.  Dionysius  and  two  other  similarly  martyred 
saints  upheld  by  three  angels  (f.  47),  the  Virgin  Mary  (f.  48  v.). 

The  subjects  of  the  vignettes  include  the  Nativity,  the  Adoration  of 
the  Shepherds,  the  Flight  into  Egypt,  the  Martyrdom  of  St.  Stephen, 
St.  John  the  Evangelist,  the  Circumcision,  the  Adoration  of  the  Magi, 
Christ  washing  the  Disciples'  feet,  the  Resurrection,  the  Ascension, 
the  Day  of  Pentecost,  etc.    On  folio  7  is  musical  notation. 

All  of  the  illuminations  are  painted  with  great  delicacy,  and  the  vel- 
lum is  of  the  whitest. 

GRINGORE,   Pierre. 

Le  ieu  du  prince  des  fots.  Et  mere  fotte.  [illustration] 
Joue  aux  halles  de  paris  le  mardy  gras  Lan  mil  cinq  cens 
et  onze.  [1511].  Small  8vo,  old  French  green  morocco,  floral 
gilt  back  and  side  borders,  gilt  edges,  by  Boyet. 


186  GUIRLANDE  DE  JULIE  — IRVING 

A  French  manuscript  of  88  pages  in  facsimile  of  the  first  edition 
(of  which  only  two  copies  are  known),  executed  in  black  letter  on 
paper  by  Jacques  Fucien  Leclabart,  in  the  latter  part  of  the  eighteenth 
century. 

On  the  title-page  is  the  illustration  reproduced  by  Brunet.  A  printed 
description  or  advertisement  precedes  the  title. 

From  the  collection  of  E.  V.  Utterson. 

GUIRLANDE  DE   JULIE. 

La  guirlande  de  Julie  Contenant  plusieurs  madrigaux  et 
epigrammes.  [XVII  Siecle].  Folio,  contemporary  red  mo- 
rocco delicately  tooled  in  borders,  corner  and  centre  ornaments 
of  scrolls,  dots,  stars,  etc.,  doubled  with  red  morocco  having 
similarly  executed  borders,  gilt  edges,  by  Du  Seuil. 

A  seventeenth  century  French  manuscript  neatly  written  upon  187 
leaves  of  fine  Holland  paper.    302  X  219  mm. 

GUIRLANDE   DE   JULIE.  —  See  Jarry,  Nicolas. 

HISTOIRE  du  Lord  Stenay  et  du  Lady  Clety.  Com- 
mencee  en  1761.  Small  4<to,  contemporary  French  red  mo- 
rocco, the  sides  tooled  in  a  rich  border,  floral  back,  gilt  edges, 
by  Padeloup. 

An  original  unpublished  French  manuscript  written  in  a  neat  cursive 
hand  upon  Holland  paper  during  the  latter  part  of  the  eighteenth  century. 
178  X  129  mm. 

It  consists  of  176  leaves,  including  the  title,  with  19  lines  to  the  page. 
All  of  the  pages  are  enclosed  within  line  borders. 

IRVING,   Washington. 

Notes  of  a  Tour  in  Europe  in  1804-1805.  4to,  vellum 
wrappers  with  flap  and  cord. 

Fifty  pages  of  memoranda  in  the  handwriting  of  Irving,  who,  in  de- 
scribing this  as  Volume  4,  indicates  that  it  contains  the  "Route  from 


IRVING  187 

Zurich  to  Paris  and  from  Paris  to  London,  from  May  17th  to  Oct.  8th 
1805."  Another  note  states  that  he  purchased  this  book  in  Zurich  for 
1|  Hvres.    His  autograph  is  on  the  inside  of  the  front  cover. 

IRVING,   Washington. 

Journal  of  a  Tour  through  France,  Italy,  Sicily.  1804- 
1805.     4to,  old  vellum,  with  ties. 

A  manuscript  of  115  closely  written  leaves  of  blue  paper  dated  Bor- 
deaux, July  1,  1804,  to  January  23,  1805.  The  first  entry  begins  "My 
dear  Brother."  On  the  back  of  the  front  cover  and  on  the  first  fly- 
leaf are  pencil  drawings;  on  the  inside  of  the  back  cover  is  written 
"Ship  Matilda,  27  Dec.  opposite  Corsica,"  and  "Achete  en  Bordeaux 
Juillet  1804.    Prix  3  liv." 

IRVING,   Washington. 

Note  Books.  Before  1837.  16mo,  four  volumes,  paper 
wrappers. 

Four  memorandum  books,  each  with  8  pages  in  Irving's  handwriting, 
containing  notes  relative  to  the  ethnology,  zoology,  botany,  and  geography 
of  the  Far  West,  for  use  in  his  book  "The  Rocky  Mountains;  or. 
Scenes,  Incidents  and  Adventures  in  the  Far  West,"  1837. 

IRVING,   Washington. 

Note  Books.  Before  1849.  16mo,  three  volumes,  red 
morocco. 

Three  memorandum  books  of  40  leaves  each  containing  notes  in 
Irving's  handwriting  chiefly  concerning  the  Arabs,  and  gathered  while 
he  was  engaged  in  writing  the  "Life  and  Successors  of  Mahomet." 

IRVING,   Washington. 

The  Life  of  Oliver  Goldsmith.  1849.  4fo,  two  volumes, 
brown  levant  morocco,  gilt  back  and  sides,  vellum  guards, 
gilt  top,  uncut  edges,  by  William  Matthews. 

The  original  manuscript  of  the  enlarged  and  completed  work  pub- 
lished by  G.  P.  Putnam  and  Company  in  1849,  with  corrected  pages  of 


188  IRVING 

the  first  edition    (1840),    carefully    inlaid    upon   Whatman   paper   by 
Trent. 

Inserted  are  a  portrait  of  Irving  by  Sartain  after  G.  S.  Newton,  and 
one  of  Goldsmith  by  Wivell  after  Sir  Joshua  Reynolds,  an  India  proof. 

IRVING,   Washington. 

Oliver  Goldsmith.  1853.  4to,  green  morocco  tooled  in 
fillets,  gilt  top,  uncut  edges,  by  William  Matthews. 

Irving's  original  manuscript  corrections  and  revisions  for  the  edition 
printed  by  G.  P.  Putnam  and  Company  in  1853,  bound  in  with  the 
printed  volume. 

IRVING,   Washington. 

A  History  of  New  York.  1854.  4to,  one  volume  divided 
into  two,  green  morocco  tooled  in  fillets,  gilt  top,  uncut  edges, 
hy  William  Matthews. 

The  original  manuscript  of  the  rewritten  work  published  by  G.  P. 
Putnam  and  Company,  1854,  with  the  text  of  the  first  edition  altered 
and  corrected,  and  all  the  additional  matter,  written  upon  sheets  of 
small  note-paper  and  bound  in  with  the  printed  volume. 

IRVING,   Washington. 

The  Sketch  Book.  1854.  Mo,  green  morocco  tooled  in 
fillets,  gilt  top,  uncut  edges,  hy  William  Matthews. 

Irving's  manuscript  revisions  for  the  edition  printed  by  G.  P.  Putnam 
and  Company  in  1854,  written  upon  42  pages  of  note-paper  and  bound 
in  with  the  printed  volume. 

IRVING,   Washington. 

Notes  for  the  Life  of  Washington.  Before  1855.  12mo, 
sheepskin. 

A  memorandum  book  containing  50  leaves  in  the  handwriting  of 
Irving,  for  the  most  part  copies  of  letters  written  by  Washington  and 
extracts  from  his  diary. 


IRVING  — JARRY  189 

IRVING,   Washington. 

Life  of  Washington.     1855.    ito,  half  green  morocco. 

Irving's  original  manuscript  of  that  portion  of  the  "Life  of  Wash- 
ington" (93  pages)  covering  the  incidents  relative  to  the  Treason  of 
Benedict  Arnold. 

Inserted  are  India  proof  portraits  of  Arnold  and  Andre. 

JARRY,   Nicolas. 

Prieres  devotes.  [Paris]  1649.  Small  8vo,  contemporary 
French  olive  morocco  covered  with  a  richly  tooled  scroll  design 
in  compartments  formed  of  fillets  and  arabesques,  doubled 
with  vellum  similarly  tooled  and  having  in  the  centre  the 
date  *'Iuin  1695,"  gilt  clasps,  gilt  edges.  In  a  blue  morocco 
case. 

An  exquisite  French  Prayer-book  written  in  roman  and  italic  char- 
acters in  black,  red,  blue,  and  shaded  gold  upon  vellum  by  Nicolas 
Jarry,  in  1649,  according  to  the  signature  at  the  foot  of  folio  79  (page 
149)",  "N.  Jarry  Parif.  fcribebat  1649."    123  X  78  mm. 

The  manuscript  was  executed  for  the  Due  de  Berry,  grandson  of 
Louis  XIV,  whose  name,  in  letters  of  shaded  gold,  "B.  E.  R.  R.  Y.," 
surrounded  by  a  wreath  of  green  foliage,  occurs  on  the  recto  of  the  last 
folio. 

The  volume  contains  87  leaves,  numbered  1-162,  with  16  lines  of 
text  to  the  page.  There  are  4  exquisite  full-page  and  5  half-page  minia- 
tures by  Du  Guernier  {?)  [Brunet  attributes  them  to  Petitot]  also  5  floral 
head-bands  beginning  the  different  divisions,  and  9  large  initial  letters  in 
gold  on  a  ground  of  flowers  and  foliage.  The  title  is  written  in  letters  of 
gold  shaded  with  red  within  a  broad  gold  border.  All  of  the  pages  are 
surrounded  by  shaded  gold  fillets,  the  smaller  initial  letters  are  in  gold 
and  red,  and  the  running  head-lines  in  red. 

The  subjects  of  the  large  miniatures  are  1.  (F.  2  v.)  The  Nativity. 
2.  (F.  13  V.)  King  David  praying.  3.  (F.  42  v.)  Pilate  showing  Christ 
to  the  populace.  4.  (F.  80  v.)  John  the  Baptist  preaching  in  the  wil- 
derness. The  small  miniatures  depict  1.  (F.  62  v.)  The  Crucifixion. 
2.  (F.  63  V.)    Christ  descending  into  Hell.    3.  (F.  64  v.)    The  Resur- 


190  JARRY 

rection.    4.  (F.  64  v.)    Christ  as  the  good  Pastor  with  his  sheep.    5.  (F. 
65  r.)    The  Entombment. 

This  manuscript,  from  the  de  LigneroUes  collection,  is  an  example 
of  the  highest  art  of  the  calligrapher  and  illuminator  in  the  seventeenth 
century. 

JARRY,  Nicolas. 

Airs  Noweavx  de  la  Covr.  Efcripts  par  N.  Jarry.  [Paris. 
XVII  Siecle].  8i;o,  red  levant  morocco  tooled  in  a  beautiful 
mosaic  design  of  compartments  in  citron,  blue,  green,  and 
red  moroccoy  delicately  tooled  in  pointille  scrolls  and  the 
crowned  monogram  of  the  Comte  de  Lurde  several  times  re- 
peated, doubled  with  red  morocco  tooled  in  panels  of  fillets 
with  corner  ornaments  {reproducing  the  design  by  Le  Gascon 
which  was  on  the  binding  in  1853  when  the  manuscript  was 
owned  by  J.  J.  de  Bure) ,  vellum  guards,  gilt  edges,  by  Trautz. 
In  a  case  of  blue  levant  morocco  Janseniste,  m  imitation  of 
a  book. 

This  binding  is  No.  1  of  the  22  mosaic  bindings  executed 
by  Trautz,  whose  manuscript  note  in  regard  to  it  is  pasted 
on  one  of  the  preliminary  leaves:  "Les  airs  de  la  cour  manu- 
scrit  Jarry  appartenant  a  Monsieur  le  Comte  de  Lurde  est 
la  reliure  qui  m'a  donne  le  plus  de  satisfaction  etje  la  regarde 
comme  une  de  mes  meilleures  productions.    G.  Trautz.*' 

A  beautifully  written  French  manuscript  of  twenty-three  Songs,  the 
words  and  music  of  which  were  composed  by  Nicolas  Jarry,  who  also 
executed  the  manuscript.    184  X  123  mm. 

It  consists  of  25  vellum  leaves,  with  every  page  surrounded  by  a  fillet 
of  gold  and  red,  and  with  large  initial  letters  in  blue  and  shaded  gold. 

The  recto  of  the  first  folio  contains  the  arms  of  a  woman  member  of 
the  Painel-Marcy  family,  enclosed  within  two  palms  of  shaded  gold 
and  surmounted  by  the  crown  of  a  comte.  On  the  recto  of  the  second 
folio  is  the  title,  in  letters  of  shaded  gold  and  red ;  on  the  verso  the  music 
begins  with  the  upper  part,  "Dessus."  The  following  pages  are  num- 
bered from  2  to  24,  the  rectos  containing  the  "Basse,"  the  versos  the 
"Dessus." 


JARRY  —  LEONICENO  191 

This  manuscript  was  formerly  in  the  collections  of  the  Baron  d'Heiss 
(1785)  and  J.  J.  de  Bure  I'aine,  whose  signature,  dated  January  15,  1826, 
is  on  one  of  the  fly-leaves. 

JARRY,   Nicolas. 

Prieres  saintes  et  chrestiennes  tirees  de  I'escriture  et  des 
peres  de  I'eglise.  [1662].  Small  8vo,  dark  brown  shagreen 
or  sealskin,  with  satin  linings,  carved  gold  clasps,  gilt  edges. 
In  a  contemporary  green  silk  case  embroidered  in  silver  borders 
and  the  crown  of  a  Marquis  with  the  monogram  "if.  E.  C." 

An  exquisite  French  Prayer-book  written  upon  the  finest  of  vellum 
in  roman  characters  by  Nicolas  Jarry.    127  X  80  mm. 

It  contains  82  folios,  numbered  1-162,  with  running  head-line  and 
16  lines  of  text  to  the  page.  The  title  is  in  gold  letters  within  a  heavy, 
frame-like  border,  and  the  pages  of  text  are  surrounded  by  gilt  fillets. 

The  six  divisions  have  on  the  first  page  beautiful  floral  bands  and 
initial  letters  painted  in  gold  and  colours;  the  title  of  each  prayer  is  in 
letters  of  blue,  red,  and  burnished  gold.  On  pages  100  and  162  are  floral 
culs-de-lampe,  the  former  a  wreath  surrounding  a  candle  with  the 
legend,  "Love  [sic]  soit  a  jamais  le  tres-saint  sacrement  de  I'autel."  On 
page  20  is  a  full-page  painting  of  a  rose-garland  tied  with  ribbons  en- 
closing burnished  gold  scrolls  attached  to  a  cross  surmounted  by  a  branch 
of  twisted  thorns.    There  are  numerous  initial  letters  in  blue  and  red. 

This  manuscript  is  a  beautiful  example  of  Jarry's  skill.  His  signa- 
ture, "N.  larry  Parisinus  scribebat,  anno  1662,"  is  at  the  foot  of  the  last 
page. 

JARRY,   Nicolas.  —  See  Bouton,  V. 

LEONICENO,  NicoLAo. 

Libellus  de  Epidemia,  quam  uulgo  morbum  Gallicum 
uocant  [Colophon]  Venetiis,  In  domo  Aldi  Manutii,  Mense 
lunio  M.III.D.  [1497].  4to,  red  straight-grain  morocco,  side 
borders  and  back  delicately  gilt  and  blind  tooled,  the  anchor 
of  Sir  John  Hayford-Thorold  on  both  covers,  mauve  moire 
silk  linings,  gilt  edges,  by  Bozerian  jeune. 


192  LE  VAILLANT  — MINIATURE  PAINTINGS 

A  modern  facsimile  manuscript  copy  of  the  rare  Aldine  edition  of  the 
earhest  published  work  on  the  disease  syphilis  (which  is  also  in  this 
library),  beautifully  written  upon  28  leaves  of  vellum.    211  X  141  mm. 

From  the  Syston  Park  collection. 

LE  VAILLANT  DE  LA  BASSARDRIES,  Le  R.  P. 

L'accord  de  la  Grace  et  de  la  Liberte  Poeme  accompagne 
de  Remarques  Par  le  R.  P.  Le  Vaillant  de  la  Bassardnes  de 
la  Compagnie  de  Jesus.  Theologien  de  son  Ex.*'®-  le  comte 
de  Salm  Eveque  de  Tournay,  et  Examinateur  Synodal  du 
Diocese.  [XVII  Siecle].  4^o,  olive  morocco,  tooled  on  the 
sides  in  rich  broad  floral  and  emblematical  borders,  rose  satin 
linings,  gilt  edges,  by  Padeloup. 

A  French  manuscript  neatly  written  at  the  end  of  the  seventeenth 
century  upon  Holland  paper  in  small  roman  characters,  with  notes  in 
a  cursive  hand.     261  X  202  mm. 

There  are  IGO  leaves,  and  21  lines  to  the  page.  The  title  is  written  in 
several  different  styles  of  cursive  characters.  Every  page  is  surrounded 
by  a  border  and  there  are  numerous  pen-and-ink  flourishes  at  the  ends 
of  the  twelve  Cantos  and  their  Summaries.  The  poem  is  dedicated  to 
Marie  Elisabeth,  Archduchess  of  Austria. 

MEUNIER,  PRETRE,   and  VAILLANT. 

Iliftoire  naturelle,  choix  de  deffins  par  Meunier.  J.  G. 
Pretre,  et  Vaillant.  1820.  4^o,  red  levant  morocco,  Janseniste, 
gilt  edges,  by  Hardy. 

Title  upon  vellum  in  red  and  blue  letters  within  a  brilliantly  painted 
border  of  butterflies  on  a  gold  ground,  and  203  other  vellum  leaves 
containing  1078  exquisite  drawings  in  colour  of  butterflies,  beetles, 
spiders,  crabs,  fish,  turtles,  lizards,  worms,  snakes,  etc.,  within  gold 
borders,  all  painted  in  1820. 

MINIATURE  PAINTINGS.     XIX   Century. 

4to,  brown  levant  morocco,  blind-tooled  panels,  fleur-de-lys 
ornaments  in  gold  in  the  comers,  gilt  edges,  by  The  Club 
Bindery. 


MINIATURE  PAINTINGS— MOORE  193 

A  volume  containing  11  well  executed  modern  miniature  paintings 
upon  vellum  copied  from  fifteenth  and  sixteenth  century  originals.  The 
subjects  include  three  compositions  of  the  Descent  of  the  Holy  Spirit; 
a  Burial  Service ;  the  Virgin  and  Child,  below  whom  kneel  the  probable 
owners  of  the  manuscript  from  which  the  painting  was  copied,  with  their 
coats-of-arms  on  the  prie-dieu;  the  Last  Supper;  the  Announcement  to 
the  Shepherds,  with  7  initial  letters  at  the  side;  the  Presentation  in 
the  Temple,  with  16  initials  at  the  side;  and  the  Annunciation.  The 
last  painting  is  a  large  floral  initial. 

MINIATURE  PAINTINGS.    XIX  Century. 

Small  4^0,  crimson  velvet,  light  brown  moire  silk  linings, 
gold  clasps,  gilt  edges. 

A  volume  containing  9  very  finely  executed  French  copies  of  seven- 
teenth century  miniatures,  borders,  and  historiated  initials  from  Horae 
by  Giulio  Clovio,  painted  upon  vellum  in  colours  and  camaieu  d'or. 
155  X  123  mm. 

The  subjects  are  1.  An  historiated  initial  containing  the  figure  of 
David  playing  his  harp,  surrounded  by  an  elaborate  border  in  compart- 
ments including  a  battle  scene,  angels,  and  other  figures.  2.  Mary 
Magdalene  kneeling  at  Christ's  feet;  below,  a  small  miniature  of  "Les 
trois  vifs  et  les  trois  morts " ;  in  the  border  the  figure  of  Bacchus,  ara- 
besque ornaments,  etc.  3.  An  Angel  leading  a  child  along  a  country 
road ;  below,  the  Virgin  worshipping  the  Infant  Christ.  4.  The  head  of 
Christ  crowned  with  thorns.  5.  A  scene  illustrating  the  Office  of  the 
Dead.  6.  The  Crucifixion;  below,  in  the  border,  Christ  bearing  the 
Cross,  painted  in  camaieu  d'or.  7.  The  Virgin  and  Child,  an  initial; 
in  the  border  below  are  the  arms  of  a  Cardinal.  8,  The  Annunciation; 
below,  in  a  circular  border,  the  Nativity.    9.  King  David  praying. 

All  of  the  miniatures  are  painted  with  precision,  delicacy,  and  ex- 
quisite colouring. 

MINIATURES.  —  See  Rive,  Jean  Joseph. 

MOORE,   Thomas. 
Songs.    1828.    Oblong  Svo,  red  morocco,  gilt  edges. 

13 


194  PAREI.ON 

Fifteen  sheets  of  music-score  containing  Moore's  "Legendary  Bal- 
lads," in  part,  set  to  music  by  Bishop,  May  10,  15,  and  22,  1828,  with 
the  text  in  Moore's  handwriting. 

The  poems  are  "The  Voice,"  called  in  manuscript  "The  Legend  of 
the  Voice,"  3  out  of  7  stanzas;  "Cupid  and  Psyche,"  without  title, 
8  stanzas;  "Hero  and  Leander,"  called  the  "Legend  of  Hero  and 
Leander,"  2  out  of  3  stanzas;  "The  Leaf  and  the  Fountain,"  5  stanzas; 
"Cephalus  and  Procris,"  called  "The  Hunter,"  3  stanzas;  "The  In- 
dian Boat,"  2  out  of  3  stanzas;  "Youth  and  Age,"  without  title,  3  out 
of  4  stanzas;  "The  Dying  Warrior,"  without  title,  5  stanzas;  "The 
Magic  Mirror,"  called  "The  Legend  of  the  Mirror,"  6  out  of  8  stanzas; 
"The  Pilgrim,"  without  title,  4  stanzas;  "The  High  born  Ladye," 
8  stanzas  without  music-score  on  a  separate  sheet,  with  a  note  by  Moore ; 
and  "The  Stranger,"  called  "The  heart- wounded  Stranger,"  5  stanzas 
of  score  and  3  on  a  separate  paper. 

The  variations  between  the  manuscript  and  printed  text  are  numerous. 

PARELON,   Paul. 

Episode  du  Siege  de  Paris  en  1870  Chansons  Orleanistes 
Chantees  aux  Grand'  Gardes  devant  le  Fort  de  Nogent-s.-M. 
par  Paul  Parelon  Soldat  a  la  3?  C^  de  Guerre  du  153?  B°?  de 
Marche  de  I'Armee  de  Paris  [Garde  Nationale  mobilisee]. 
Fusille  le  24  Mai  1871  Paris  M.DCCC.LXXXVI.  4to,  blue 
levant  morocco,  fleurs-de-lys  in  the  comers  of  the  sides  and 
on  the  back,  gilt  edges,  by  Chambolle-Duru. 

A  French  manuscript  beautifully  written  in  italic  characters  by  V. 
Bouton  upon  the  finest  vellum  within  borders  of  red  with  gold  stars  at 
the  corners.     186  X  125  mm. 

The  four  title-pages  are  written  in  red,  gold,  and  blue  letters  and  the 
initial  letters  throughout  the  volume  are  in  shaded  gold  and  blue. 

There  are  4  delicately  executed  pen-and-ink  ornaments  and  two  leaves 
of  facsimile  handwriting.    Bouton's  monogram  is  on  the  last  page. 

This  manuscript  is  a  fine  example  of  late  nineteenth  century 
calligraphy. 


PATENT  OF  NOBILITY  — PRAYER-BOOK  195 

PATENT  OF  NOBILITY. 

[Folio  83  verso]  Executoria  de  hidalguia  &  pedimieto  de 
Hernando  de  porras  vezino  dela  ciudad  de  feuilla.  [XVII 
Century].    Folio,  old  crimson  velvet,  gilt  edges. 

A  fine  Spanish  manuscript  of  a  Patent  of  Nobility  conferred  upon 
Hernando  de  Porras  of  Seville,  written  in  the  seventeenth  century  in 
large  roman  characters  upon  83  leaves  of  fine  vellum  within  shaded 
gold  borders.     310  X  210  mm. 

The  first  page  is  unusually  well  painted,  having  in  the  centre  the 
arms  of  de  Porras  surrounded  by  a  border  containing  flowers,  birds, 
insects,  grotesques,  and  scrolls  in  which  are  introduced  an  armorial 
shield  and  4  small  miniatures.  Throughout  the  volume  are  39  headings 
in  the  form  of  bands  and  89  initial  letters  in  azured  gold  on  blue  and  red 
grounds.    On  folios  77  and  82  verso  are  full-page  borders. 

At  the  end  of  the  volume  are  five  leaves  in  contemporary  handwriting, 
one  of  vellum  and  four  of  paper,  containing  affidavits,  etc. 

This  manuscript  is  a  very  good  example  of  this  class  of  Spanish  cal- 
ligraphy and  decoration. 

PORTO,   LuiGi.  DA. 

Storia  di  due  nobili  amanti  (Romeo  e  Giuletta)  colla  lore 
pietosa  morte  avvenuta  gia  in  Verona  nel  tempo  del  Signor 
Bartolommeo  dalla  Scala  e  scritta  da  Luigi  da  Porto.  Milano 
dair  imp.  Regia  Stamperia  1819.  8vo,  red  velvet  with  gold 
corner-pieces  and  clasps  in  the  form  of  roses  and  butterflies 
{the  device  of  the  Archinto  family  of  Milan),  gilt  top,  uncut 
edges. 

One  of  six  copies  printed  upon  vellum,  and  illustrated  by  a  frontis- 
piece, 11  full-page  miniatures  surrounded  by  borders,  5  vignettes,  and 
the  Archinto  arms  on  the  title-page,  all  executed  in  gold  and  colours  in 
the  finest  style  of  modern  Italian  art  by  Giovanni  Battista  Gigola. 

PRAYER-BOOK. 

Katholifches  Gebetbuch  um  Gott  im  Geifte  und  in  der 
Wahrheit  anzubethen.     Gefchrieben.     Anno  1715.     I'imo, 


196  PRETRE  — PREVOST 

in  a  seventeenth  century  German  binding  of  silver  in  high 
relief;  both  covers  have  centre  medallions  within  a  frame- 
work of  garlands  and  angels,  the  recto  containing  an  emblem- 
atic representation  of  Prayer,  the  verso,  of  Religious  Zeal. 
The  back  has  a  figure  of  Hope,  the  end-pieces  and  clasps  are 
in  the  form  of  angels'  heads,  the  edges  are  gilt  and  gaujjred. 
This  binding  was  probably  made  in  Augsburg  about  1670 
and  the  manuscript  added  later. 

A  German  Prayer-book  neatly  written  in  black  and  red  ink  within 
red  lines  upon  164  leaves  of  blue  tinted  Holland  paper.    119  X  57  mm. 

PRETRE,  J.  G.  —  See  Meunier,  Pretre,  and  Vaillant. 

PREVOST. 

Les  Prieres  du  Salut  pour  la  chapelle  du  Roy.     [avant 

1768].  Small  8vo,  dark  blue  morocco,  the  arms  of  Marie 
Lcczinska,  wife  of  Louis  XV,  in  gold  on  the  sides,  which  are 
surrounded  by  tooled  gold  borders,  crowned  monograms  and 
fleurs-de-lys  in  the  corners  and  on  the  back,  old  rose  satin 
linings,  gilt  edges,  by  Padeloup.  In  a  modem  case  of  blue 
morocco. 

An  exquisite  French  manuscript  of  Latin  prayers  written  in  italic 
characters  upon  vellum  by  Prevost,  in  the  latter  part  of  the  eighteenth 
century,  for  Queen  Marie  Leczinska      160  X  104  mm. 

There  are  16  leaves  (folio  3  being  blank),  with  15  lines  to  the  page, 
each  surrounded  by  a  narrow  gilt  border.  The  title,  written  in  blue  and 
gold  letters,  is  within  a  border  composed  of  garlands,  a  cupid's  head, 
birds,  flowers,  etc.  The  second  leaf,  containing  the  dedication  to  the 
Queen,  bears  her  illuminated  arms  and  an  initial  letter  (227  X  227  mm.) 
with  a  tiny  landscape  painted  with  exquisite  delicacy.  There  are  4  other 
similar  initials,  a  floriated  initial  letter,  an  ornament  on  folio  4,  and  3 
graceful  culs-de-lampe. 

In  beauty  and  refinement  of  calligraphy  this  little  l*rayer-book  rivals 
the  work  of  Rousselet,  Gilbert,  Damoiseau,  or  Nicolas  Jarry. 

From  the  collection  of  the  Comte  de  Mosbourg. 


RAMSAY  —  REMBERT  197 

RAMSAY,   Allan. 

Original  manuscripts  of  Poems,  Verses,  Letters,  Poetical 
Epistles,  etc.,  by  Allan  Ramsay.  XVIII  Century.  Mo,  light 
green  levant  morocco,  side  borders  and  back  richly  tooled  in 
the  manner  of  Derome,  doubled  with  maroon  morocco  covered 
with  a  design  of  scrolls  and  azured  arabesques,  centre  mosaic 
ornament  iii  green  and  red  morocco  surrounded  by  azured 
tools,  maroon  moire  silk  guards  tooled  in  gilt,  gilt  edges;  in 
a  rose  silk  chemise  and  maroon  levant  morocco  case,  by 
Zaehnsdorf. 

An  English  manuscript  consisting  of  a  title  in  red  and  black  upon 
vellum,  a  leaf  of  Contents  specifying  fourteen  poems,  and  28  leaves 
(49  full  pages)  of  manuscript  on  Holland  paper,  dating  from  1738  to 
1746.     188  X  149  mm. 

A  mezzotint  portrait  of  Ramsay  by  White  forms  the  frontispiece, 
and  preceding  the  first  poem,  "  On  George  Whitefield,"  is  a  portrait  of 
that  preacher,  on  India  paper. 

REMBERT,   Ferdinand. 

Les  Fleurs,  Dessins  de  F4  Rembert.  L.  Curmer.  [Paris] 
1861,  Square  16mo,  four  volumes,  red  levant  morocco,  Jan- 
seniste,  doubled  with  green  morocco  richly  tooled  in  compart- 
ments of  roses,  foliage,  scrolls,  etc.,  Leon  Curmer' s  arms  in 
the  centre,  his  monogram  above  and  below,  green  moire  silk 
guards,  in  red  levant  morocco  cases,  by  Hardy-Mennil ; 
Marius  Michel,  gilder. 

The  titles  and  headings  are  illuminated  in  gold  and  colours,  there 
are  2  frontispieces  after  Van  Spaendonck,  1  after  Remielius,  and  1  after 
Madame  Valleyer- Coster,  and  125  other  exquisite  paintings  by  Rem- 
bert, 2  upon  vellum.    138  X  110  mm. 

A  page  in  the  autograph  of  Rembert  states  that  this  book  was  begun 
February,  1858,  and  finished  April,  1862.  The  text  was  written  by 
Mm.  Baudet  and  Delvoye. 


198  REMBERT  — RIVE 

REMBERT,  Ferdinand. 

Les  Roses.  Dessins  de  F*?  Rembert.  [Paris]  L.  Curmer. 
1861.  Square  16mo,  jour  volumes^  red  levant  morocco,  Jan- 
seniste,  doubled  with  green  morocco  covered  with  a  rich  design 
in  compartments  of  flowers,  leaf -sprays,  etc.,  Leon  Curmer' s 
arms  in  the  centre,  his  monogram  above  and  below,  green 
moire  silk  guards,  in  red  levant  morocco  cases,  by  Hardy- 
Mennil;  Marius  Michel,  gilder. 

The  text,  which  consists  of  "Histoire  de  la  Rose,"  1859,  by  Edouard 
Cadol  and  Delongchamps,  and  appropriate  quotations  from  French 
poets,  is  neatly  written  within  blue  and  gold  borders.  The  titles  and 
half-titles  are  illuminated  in  gold  and  colours  and  there  are  152  exquisite 
miniature  paintings  of  roses  with  butterflies,  insects,  etc.,  by  Rembert. 
140  X  109  mm. 

Inserted  are  three  engravings,  an  original  pen  sketch,  and  two  photo- 
graphic portraits. 

RIVE,   Jean   Joseph,   editor. 

Miniatures  peintes  dans  les  manuscrits  depuis  le  XIV* 
siecle  jusqu  'au  XVII*,  26  tableaux  peints  et  rehausses  d'or. 
[Vers  1782].    Folio,  half  blue  morocco. 

The  rare  series  of  eighteenth  century  French  copies  of  26  of  the  minia- 
tures in  the  most  beautiful  fourteenth  to  seventeenth  century  manu- 
scripts in  the  collection  of  the  Due  de  La  Valliere,  intended  by  the  Abbe 
Rive  to  accompany  his  "Essai  sur  I'art  de  verifier  I'age  des  miniatures 
peintes  dans  les  manuscrits  depuis  le  XIV*  siecle,"  etc.  All  that  was 
printed  on  the  subject,  however,  was  a  twelvemo  pamphlet  of  70  pages, 
"Prospectus  de  I'ouvrage  propose  par  souscription  par  I'abbe  Rive," 
Paris,  Didot  I'aine,  1782. 

The  present  series  is  painted  upon  paper  and  mounted,  varying  in 
size  from  285  X  195  mm.  to  150  X  135  mm.  The  volume  includes  1 
painting  from  the  fourteenth  century,  20  from  the  fifteenth,  4  from  the 
sixteenth,  and  1  from  the  seventeenth  century.  The  subjects  represented 
include  St,  John  the  Evangelist  (XIV);  the  Taking  of  Jerusalem  by 
King  Antiochus,  the  Adoration  of  the  Magi,  five  paintings  of  the  "For- 


ROUSSELET  —  SCOTT  199 

tresse  de  la  Foy,"  the  Entombment,  Christ  teaching  his  Apostles,  a 
Burial  Service  (XV) ;  the  Crowning  of  a  Pope,  Death  riding  in  a  Chariot, 
the  Death  of  the  Virgin  (XVI),  and  St.  Nicholas  (XVII). 

ROUSSELET. 

Prieres  de  la  Messe  Ecrites  par  Rouffelet  a  Paris 
M.DCC.XXV.  Svo,  light  brown  morocco,  the  crowned 
monogram  of  Queen  Marie  Leczinska  in  gold  on  dark  brown 
morocco  in  the  centre  of  both  covers,  side  borders  and  back 
panels  in  mosaic  of  dark  brown  and  red  morocco  tooled  in 
fleurs-de-lys,  dots,  and  other  small  ornaments,  doubled  with 
dark  brown  morocco  tooled  in  wide  borders,  gilt  paver  guards, 
gilt  edges,  by  Padeloup.  In  a  modem  chemise  of  light  brown 
levant  morocco. 

A  beautiful  French  Prayer-book  written  by  Rousselet  in  large  roman 
characters  of  black  and  red  upon  paper  for  King  Louis  XV,  by  whom  it 
was  presented  to  Queen  Marie  Leczinska  on  the  day  of  their  marriage, 
September  4,  1725.    166  X  105  mm. 

It  consists  of  45  leaves,  with  12  lines  to  the  page,  besides  the  running 
head-line,  each  page  being  surrounded  by  a  fillet  of  black  and  gold.  The 
title-page  is  written  in  letters  of  black,  red,  blue,  and  burnished  gold 
within  a  rich  border  of  flowers  and  garlands  in  colours  on  a  ground  of 
burnished  gold.  There  are  2  full-page  paintings  within  borders  (folio 
2  V.)  the  Agony  in  the  Garden,  an  angel  with  Cross  and  Holy  Grail  in  the 
sky,  Judas  and  the  soldiers  entering  through  a  gate  in  the  background; 
and  (folio  21  v.)  the  Raising  of  the  Cross;  also  2  vignettes  and  4  culs- 
de-lampe  delicately  painted  in  colours  and  burnished  gold,  and  numer- 
ous initial  letters  in  blue  on  a  gold  ground. 

This  manuscript  passed  from  the  hands  of  the  royal  family  to  the 
library  of  the  Duchesse  de  Berry,  whose  name  is  written  on  a  fly-leaf, 
thence  into  the  collections  of  the  Baron  de  La  Roche  Lacarelle  and 
Henri  Bordes. 

SCOTT,   Sir   W^alter. 

Life  of  Jonathan  Swift.     1814.    4/o,  russia. 

The  original  manuscript  entirely  in  Scott's  handwriting,  with  page 
proofs  corrected  and  various  annotations. 


200  SEYMOUR— TRAGEDIE 

SEYMOUR,  Edward. 

An  Abftract  of  the  Accompt  of  Paym*"  made  by  the  Right 
Honourable  Edward  Seymour  Efquire  Trearf  of  his  Ma*f 
Navy  Betweene  the  12f  of  July  1673  &  y«  31*^  [sic]  of 
Decemb;  1674.  Folio,  contemporary  dark  blue  morocco,  cov- 
ered with  a  rich  mosaic  design  of  comvartments  and  flowers 
in  light  brown  and  red  morocco  richly  tooled  in  gold,  gilt 
edges,  by  Meame,  the  royal  binder. 

An  English  manuscript  beautifully  written  in  columns  on  35  leaves 
of  Holland  paper.    439  X  288  mm. 

SHAW,   George  Bernard. 

Passion,  Poison  &  Petrifaction  A  new  and  original 
Tragedy  in  One  Act  by  The  Chelsea  Shakespear.  [London, 
1905].     4^0,  red  morocco. 

The  original  manuscript  of  this  play,  written  in  pencil  on  the  rectos 
of  41  leaves,  and  attested  to  by  Shaw,  "This  is  the  true  and  original  copy 
written  by  me,  mostly  in  Great  Northern  Express  trains:  hence  the 
joggly  handwriting  in  many  places.    G.  Bernard  Shaw.    June,  1905." 

Inserted  are  the  play-bill  of  the  first  performance,  given  July  14,  1905, 
at  the  Theatre  Royal,  in  aid  of  the  Actors'  Orphanage  Fund,  and  two 
autograph  letters  from  Shaw,  dated  August,  1907,  relative  to  the  acqui- 
sition of  the  manuscript. 

TRAGEDIE  Francoise  d'vn  more  crvel  envers  son  seignevr 
nomme  Riuiery,  Gentil-homme  Efpagnol,  sa  Damoifelle,  & 
fes  Enfans  [vignette]  A  Roven,  Cnez  Abraham  Coufturier, 
Libraire  tenant  fa  bouticque  au  bout  debas  de  la  rue 
Efcuyere.  [vers  1610].  12m^,  blue  straight-grain  morocco, 
rose  moire  silk  linings,  gilt  edges. 

A  modern  French  manuscript  in  exact  facsimile  of  the  printed  work, 
written  upon  24  vellum  leaves,  with  five  pen-and-ink  illustrations,  in- 
cluding the  one  on  the  title,  and  ten  ornaments.     170  X  102  mm. 


TRAGI-COMEDIE  —  VERTRON  201 

TRAGI-COMEDIE  de  la  Rebellion,  ov  Mescontentement 
des  Grenovilles  contre  lupiter.  [vignette].  A  Roven,  Chez 
Abraham  Covstvrier,  rue  de  I'Orloge,  deuant  les  deux 
Cygoignes.  [avant  1628].  12mo,  blue  straight-grain  morocco, 
rose  moire  silk  linings,  gilt  edges. 

A  modern  French  manuscript  written  in  exact  facsimile  of  the  printed 
work,  upon  12  vellum  leaves,  with  a  pen-and-ink  illustration  on  the  title 
and  various  typographical  ornaments.     171  X  103  mm. 

TRESOR  Spirituel  Tire  De  la  pure  parole  de  Dieu,  Et  de 
quelques  endroits  du  livre  De  limitation  de  Jesus  Christ. 
[XVII  Siecle].  12mo,  old  red  morocco,  Janseniste,  doubled 
with  red  morocco,  dentelle  borders,  gilt  edges,  by  Boyet. 

A  French  manuscript  neatly  written  in  italic  characters  within  red 
lines  upon  196  leaves  of  paper,  probably  for  a  present  or  gage  d'amitie. 
149  X  95  mm. 

VEGA,   Lope  de. 

Carlos  5"  en  francia  [1604].  4/o,  brown  morocco,  gilt 
and  blind-tooled  on  the  back  and  sides,  uncut  edges. 

A  manuscript  comedy  written  on  49  leaves  of  paper  in  the  auto- 
graph of  Lope  de  Vega,  and  signed  by  him  November  20,  1604. 

Five  leaves  at  the  end  contain  the  authorisation  to  present  this 
comedy,  signed  by  twelve  oflBcials. 

Presented  to  Lord  Howden  at  Madrid,  1858,  by  M.  de  Oloraza,  and 
so  inscribed  on  the  covers. 

VERTRON. 

Le  David  moderne  ou  la  Traduction  en  vers  Des  Sept 
Pfeaumes  de  Dom  Antoine  Roy  de  Portugal  [1531-1595] 
Dediee  au  Roy  [Louis  XIV]  Par  M""  de  Vertron  Historio- 
graphe  de  Sa  Majeste  Academicien  de  son  Academie  Royale 
d' Aries,  et  de  celle  des  Ricovrati  de  Padoue.  Chevalier  des 
Ordres  Royaux  de  Notre  Dame  de  Mont  Carmel  et  de  Saint 


202       VIE  DE  SAINT  ANDRY  — VCEUX  DU  HERON 

Lazare.  1703.  4<o,  contemporary  French  red  morocco,  the 
arms  of  Louis  XIV  stamped  in  gold  on  the  sides,  fleurs-de- 
lys  in  the  hack  panels,  gilt  edges. 

A  well  written  French  manuscript  in  italic  characters  upon  vellum 
within  borders  of  gilt  fillets.  It  was  executed  for  Louis  XIV,  to  whom 
the  translation  is  dedicated.     262  X  188  mm. 

41  leaves,  numbered  1-79,  with  22  lines  to  the  page.  The  title  is  in 
roman  and  italic  characters  in  colours  and  gold  within  a  beautiful  ara- 
besque border,  and  throughout  the  volume  are  18  floral  head-pieces  and 
culs-de-lampe.  The  headings  and  initial  letters  of  the  Psalms  are  in 
burnished  gold. 

On  page  73  is  an  "  Abrege  de  la  Vie  de  Dom  Antoine  Roy  de  Portugal," 
on  page  75  "Epitaphe  Latine  de  Dom  Antoine  I." 

VIE   DE   SAINT  ANDRY. 

SEnfuyt  la  vie  Et  miftere  de  Saint  Andry  Nouuellement 
copofee  &  Imprimee  A  Paris  Dont  les  noms  fenfuyuent. 
Et  premierement,  XVI. C.  [printer's  device] 

On  les  vend  a  Paris  en  la  Rue  Neufue  Noftre  dame  a 
lenfeigne  Sainct  Nicolas.  [Colophon]  .  .  .  Nouuellemet 
Imprimee  a  Paris  pour  Pierre  Sergent  .  .  .  [vers  1535]. 
4/0,  blue  straight-gram  morocco,  side  borders  of  foliage  sprays, 
gilt  back,  doubled  with  rose  silk,  gilt  edges,  by  Bozerian 
jeune. 

A  modern  French  manuscript  beautifully  written  in  gothic  characters 
by  Fyot  jeune  upon  62  leaves  of  vellum  in  exact  facsimile  of  the  printed 
work,  which  Brunet  describes  as  "  excessivement  rare."  Sergent's  device 
is  on  the  title  and  last  page,  after  the  colophon.    215  X  170  mm. 

From  the  Utterson  collection. 

VCEUX  DU  HERON. 

Deus  Veus  du  Hairon  Poeme  du  xiiii  Siecle  Traduit  & 
Enlumine  par  Dudley  Coftello.  [XIX  Siecle].  Folio,  green 
velvet,  comer  ornaments  and  clasps  of  chased  gold,  red  moire 
silk  linings,  gilt  edges.    In  a  case  of  maroon  morocco. 


VCEUX  DU  HfiRON  203 

An  English  manuscript  written  in  gothic  characters  (text)  and  cursive 
script  (notes)  upon  vellum  by  Dudley  Costello  (1803-1865). 

There  are  47  leaves,  of  which  9  contain  text  in  French,  written  on 
one  side  only  of  the  folio,  and  25  contain  notes,  on  both  sides  of  the 
leaf. 

The  illuminations  consist  of  a  title,  5  half-titles,  6  miniatures,  9  coats- 
of-arms,  and  40  large  initial  letters,  all  painted  in  gold  and  colours, 
producing  a  brilliant  effect. 

The  subjects  of  the  miniatures  are  1.  (F.  10  r.)  A  heron  of  vignette 
size.  2.  (F.  11  r.)  A  court  scene  representing  Robert  d'Artois  inciting 
King  Edward  III  and  Queen  Philippa  to  take  the  Vow  of  the  Heron; 
a  half-page  painting  containing  many  figures.  3.  (F.  18  r.)  A  heron 
against  a  ground  of  brilliant  blue  within  a  double  border.  4.  (F.  24  r.) 
"The  Earle  of  Salisbury"  in  armour,  on  horseback.  5.  (F.  31  r.)  A 
full-page  painting  in  two  compartments;  on  the  left,  "King  Edward 
sends  challenges  to  Philip  of  Valois,"  on  the  right,  "The  Vows  of  the 
Bishop  of  Lincoln  and  others."    6.  (F.  42  v.)  The  Knight  of  the  Swan. 

Folios  38  verso  to  40  recto  contain  a  facsimile  in  gothic  letters  of  the 
"Gabs  of  Charlemagne  and  his  Peers,"  from  the  original  in  the  British 
Museum. 

The  manuscript  is  a  very  interesting  example  of  modern  calligraphy 
and  illumination. 


Ill 

ORIENTAL   MANUSCRIPTS 


ABD-UI^RAHMAN,   Shaikh. 

Tuhfet-ul-Ebrad.  1582.  Folio,  old  Persian  circuit 
binding  of  maroon  morocco^  cut  out  in  compartments  and 
painted  in  gold,  doubled  with  brown  morocco  covered  with 
compartments  of  gilt  tracery  cut  out  and  pasted  over  green, 
blue,  red,  ivory,  and  black,  guards  of  oriental  brown  figured 
paper,  gilt  edges. 

A  Persian  manuscript  of  a  collection  of  metrical  Admonitions  by 
Shaikh  Abd-ul-Rahman  written  upon  77  leaves  of  bombycine  paper 
by  a  well-known  scribe  named  Shah  Hussain  Shahabi  at  Herat  in  the 
year  992  of  the  Hejira,  or  1582  A.  D.    293  X  182  mm. 

The  text,  which  is  inlaid,  is  written  in  two  columns  within  fillets  of 
gold  and  colours  and  broad,  curiously  decorated  borders  in  subdued 
colours  and  gold,  all  of  the  pages  being  different.  There  are  2  large 
miniatures  (folios  9  r.  and  44  v.),  and  the  title  (folios  76  v.  and  77  r.) 
is  brilliantly  illuminated  in  gold  and  colours,  blue  predominating. 

This  manuscript  is  an  excellent  example  of  the  best  style  of  Persian 
binding,  illumination,  and  calligraphy. 

AKBAR  NAMAH.     XVII   Century. 

Folio,  in  an  elaborate  Persian  lacquered  binding  with  paint- 
ings of  girls  dancing  before  the  court  on  the  outside  and 
flowers  on  the  inside. 

A  seventeenth  century  Persian  manuscript  of  the  History  of  the 
Mogul  Emperor,  Akbar  the  Great  of  India,  written  upon  275  leaves  of 
bombycine  paper.     365  X  214  mm. 

It  is  illuminated  with  52  brilliant  and  delicately  painted  miniatures, 
varying  in  size  from  about  115  X  130  mm.  to  full-page,  and  40  chapter- 

207 


208  BHAGAVAD-GITA 

headings  of  flowers  in  colours  on  a  gold  ground.  The  subjects  include 
a  harvest  scene  beside  a  river  in  which  fish  are  seen  swimming  (folio  43) ; 
a  curious  painting  of  a  garden  with  rocks,  flowers  in  compartments, 
and  fountains  one  above  another  (folio  84) ;  a  hunting  scene,  —  full- 
page  (folio  110);  the  meeting  of  two  rulers  and  their  retinues  on  ele- 
phants, horses,  etc.  (folio  127);  a  procession  on  camels  (folio  156); 
trumpeters,  wrestlers,  dancing-girls,  etc.,  performing  before  the  Shah 
(folios  177-178);  an  elephant-fight  (folio  181);  an  army  besieging  a 
fortified  castle  (folio  186);  a  royal  procession  on  elephants  and  horses, 
—  full-page  (folio  189) ;  equestrian  sports  (folio  198) ;  a  hunting  scene 
(folio  200) ;  a  full-page  painting  divided  into  three  horizontal  compart- 
ments depicting  processions  on  horseback  and  by  boat  (folio  258);  a 
battle  scene,  full-page  (folio  260).    The  colophon  is  missing. 

The  paintings  are  in  the  best  style  of  the  art  of  the  period.  The  por- 
trait of  the  Shah,  which  appears  to  be  authentic,  is  often  repeated. 

BHAGAVAD-GITA.     XVIII   Century. 
12mo,  old  crimson  satin^  with  painted  edges. 

A  Sanskrit  manuscript  of  the  Divine  Song  written  within  borders  of 
gold  and  red  upon  381  leaves  of  bombycine  paper.    125  X  82  mm. 

It  contains  23  brilliantly  and  delicately  executed  full-page  miniatures 
surrounded  by  floral  borders  of  colours  on  a  gold  ground  and  76  small 
paintings  (18  X  18  mm.)  scattered  throughout  the  text. 

The  subjects  of  the  large  miniatures  include  Gane^a,  the  Elephant- 
faced  (folio  7) ;  the  divine  incarnation  of  Vishnu  in  the  form  of  Krishna, 
as  the  charioteer  of  Arjuna,  who  carries  a  banner  containing  the  figure 
of  Hanuman,  the  Monkey-god  (folio  8);  Vishnu  as  a  fish  holding  the 
lotus-flower  (folio  29) ;  the  Creation,  —  Vishnu  in  the  centre  on  a  turtle, 
Brahma  (with  four  heads)  and  five  others  holding  ^esha,  the  snake  (folio 
51);  Vishnu  as  a  boar,  with  conch-shell  and  lotus  (folio  63);  Vishnu 
as  Nara-Sinha,  the  Man-lion  (folio  76) ;  Vishnu  as  Rama,  the  Hero  in- 
carnation (folio  98) ;  Vishnu  as  Kalki,  the  white  Horse,  the  tenth  Avatar, 
which  is  not  yet  (folio  140);  Vishnu  with  attributes  of  lotus,  boar,  blue- 
face,  man-lion,  and  the  trident  of  ^iva  (folio  159) ;  Lakshmi  (Venus), 
with  the  lotus  (folios  165,  183,  197) ;  the  Creation,  —  Vishnu  lying  on 
^esha  (the  snake)  accompanied  by  Lakshmi,  Brahma  springing  from  a 
lotus  issuing  from  the  navel  of  Vishnu  (folio  230);   Vishnu  adored  by 


CHANDI  —  COPTIC  PRAYER-BOOK  209 

the  Elephant,  which  is  carrying  the  lotus  to  the  banks  of  the  Ganges 
(folio  335). 

CHANDI  OR  SAPTA-CATI.    XVIII  Century. 

12mo,  blue  levant  morocco,  filleted  mosaic  borders  of  green 
and  red  morocco  tooled  in  gold,  gilt  edges,  by  The  Club  Bindery. 

A  beautiful  Sanskrit  manuscript  of  the  Chandi,  an  extract  from  the 
Markandeyapvrana,  written  upon  161  leaves  of  bombycine  paper,  6 
lines  to  the  page,  in  the  eighteenth  century.     162  X  98  mm. 

The  text  is  enclosed  within  a  filleted  border  of  red,  green,  blue,  and  gold. 

The  illuminations  consist  of  20  delicately  and  brilliantly  executed 
full-page  miniatures,  and  21  somewhat  smaller  (50  X  60  mm.).  Most 
of  the  large  paintings  contain  representations  of  Chandi,  the  Indian 
goddess  of  Nature,  corresponding  to  the  Egyptian  Isis.  She  is  depicted 
as  seated  in  state  upon  a  lotus-flower  resting  on  two  leopards,  a  third 
beside  her  (folio  20  v.),  as  accompanied  by  Hansa,  her  goose  (folio  25 
v.),  as  at  war  upon  her  leopard  (folio  50  v.),  and  on  foot  (folios  58  v.  and 
110  v.),  receiving  two  rajahs  (folio  67  v.).  The  first  large  miniature 
depicts  Gane9a,  the  god  of  wisdom  and  remover  of  obstacles. 

The  21  small  miniatures  (folios  70-80)  are  allegorical  representations 
of  Maya  (Illusion),  Imagination,  Reason,  Sleep,  Hunger,  Shade,  Power, 
Fatigue,  Forgiveness,  Birth,  Bashfulness,  Composure,  Faith,  Splendour, 
Plenty,  Sustenance,  Memory,  Affection,  Content,  Maternity,  and 
Error,  —  all  in  the  form  of  men  and  women  seated  in  the  open  air. 

The  paintings  in  this  manuscript  are  interesting  and  finely  executed, 
and  the  calligraphy  is  remarkable  for  its  intense  blackness  and  precision. 

COPTIC   PRAYER-BOOK.     XVII   Century. 

Small  4to,  old  oriental  circuit  binding  of  brown  morocco^ 
cut  out  in  compartments  and  ^painted  maroon  and  gold;  in 
an  old  red  morocco  case. 

A  Prayer-book  written  in  Coptic  and  Arabic  upon  256  leaves  of 
bombycine  paper  in  the  seventeenth  century.    108  X  77  mm. 

There  are  3  full-page  rudely  executed  miniatures  of  God  the  Father  ( ?), 
the  Virgin  and  Child,  and  King  David  (folios  1,  41,  and  233),  8  full- 
page  ornaments  and  8  chapter-headings  painted  in  colours  and  gold. 

From  the  Bateman  collection. 


210     DAI. A'lL-UL-KHAIRAT— GOSPELS  IN  ARMENIAN 

DALA'IL-UL-KHAIRAT.     XVIII   Century. 

8vo,  in  an  elaborate  Persian  lacquered  circuit  binding 
painted  outside  and  inside  with  flowers  in  gold  and  colours. 
In  a  modem  maroon  morocco  case. 

A  Litany  for  Mohammed  beautifully  written  in  Arabic  with  inter- 
linear Persian  translation  within  gold  lines  on  a  delicate  green  ground 
upon  134  leaves  of  bombycine  paper,  probably  in  the  eighteenth  century. 
195  X  124  mm. 

There  are  18  pages  brilliantly  illuminated  in  gold  and  colours,  folios 
115  V.  and  116  r.  apparently  containing  representations  of  the  Kaabah 
at  Mecca  and  the  Mosque  of  Medina. 

From  two  seals  stamped  on  the  pages,  the  volume  appears  to  have 
belonged  in  the  year  of  the  Hejira  1217  (1802  A.  D.)  to  Hussain,  and 
in  A.  H.  1226  (1811  A.  D.)  to  Murad  Khan,  who  presented  it  to  Nasr- 
ullah  Khan. 

FIRDUSI  (AB-UI^KASIM  MANSIJR) . 

Shah-Namah,  or  Book  of  Kings.  XVII  Century.  Folio, 
in  a  rich  Persian  lacquered  binding  painted  outside  and 
inside  with  flowers  and  foliage  in  gold  and  colours,  painted 
edges. 

A  very  fine  seventeenth  century  Persian  manuscript  of  Firdusi's 
poetical  History  of  Persia  from  the  mythical  ruler  Gayumart  (about 
3600  B.  C.)  to  the  Mohammedan  Conquest  (641  A.  D.),  written  upon 
652  leaves  of  bombycine  paper,  four  columns  to  the  page,  within  lines 
of  gold  and  colours.     306  X  190  mm. 

There  are  70  beautiful  full-page  paintings  in  brilliant  colours  height- 
ened with  gold,  several  being  in  two  compartments,  and  4  chapter-head- 
ings in  blue  and  gold  heightened  with  rose. 

The  subjects  of  the  miniatures  are  chiefly  battle  scenes,  and  include 
a  boar-hunt  (folio  424),  a  king  carried  captive  on  an  elephant  (folio 
438),  and  a  dragon-fight  (folio  573). 

GOSPELS  IN  ARMENIAN.     XVI   Century. 

Folio,  in  a  contemporary  Armenian  leather  binding,  the 
sides  covered  with  borders  and  central  panels  of  old  repousse 


GOSPELS  IN  ARMENIAN  211 

silver^  the  back  laced  with  silk  cords  passing  through  small 
silver  eyelets.  The  panel  on  the  front  cover  contains  repre- 
sentations of  the  Annunciation  and  the  Presentation  in  the 
Temple,  above  three  lines  of  text  in  Russian  characters.  The 
back  panel  contains  the  Last  Judgment;  oriental  silk  linings, 
painted  edges.  In  a  case  of  brown  morocco  lined  with  crimson 
velvet. 

A  very  interesting  Armenian  manuscript  of  the  Four  Gospels,  two 
columns  to  the  page  of  23  lines  each,  written  upon  thick  paper  in  the 
sixteenth  century  for  a  monastery  in  Csesarea,  Cappadocia.  302  X 
202  mm. 

262  leaves,  including  8  for  the  Calendar  and  other  preliminary  matter. 
There  are  4  full-page  and  14  small  miniatures  in  the  margins,  4  elaborate 
borders  at  the  beginning  of  the  Gospels,  10  borders  containing  minia- 
tures in  the  Calendar,  and  189  arabesque  ornaments  in  the  margins. 
The  border  on  folio  12  recto  has  on  the  outer  margin  the  genealogical 
tree  of  the  Virgin  Mary  and  Christ  painted  in  colours  on  a  gold  ground. 

The  subjects  of  the  large  miniatures  (folios  11,  81,  126,  and  202)  are 
the  Four  Evangelists.  Among  the  subjects  of  the  small  paintings  are 
St.  George  and  the  Dragon  (folio  35  r.),  Christ  casting  out  a  devil  (folio 
36  v.),  the  Entombment  (folio  123  v.),  the  Annunciation  (folio  128  v.), 
the  Presentation  in  the  Temple  (folio  133  r.),  Christ's  Entry  into  Jeru- 
salem (folio  184  r.),  the  Crucifixion  (folio  194  v.),  the  Baptism  of  Christ 
by  John  the  Baptist  (folio  204  v.),  and  Mary  Magdalene  kneeling  at 
the  feet  of  Christ  (folio  256  r.). 

This  manuscript  is  especially  interesting  because  of  its  unique  and 
exquisitely  wrought  repousse  binding,  which  is  contemporary  with  the 
book. 

GOSPELS  IN  ARMENIAN.     XVI   Century. 

Small  Mo,  original  blind-tooled  calf,  doubled  with  yellow 
and  rose  silk,  three  silver  clasps. 

An  Armenian  manuscript  of  the  Four  Gospels  beautifully  written 
in  minute  characters  in  two  columns  upon  vellum  in  the  sixteenth  cen- 
tury.    113  X  80  ram. 


212  GOSPELS  IN  ARMENIAN 

It  contains  298  leaves,  including  13  for  the  Calendar  and  other  pre- 
liminary matter,  and  23  lines  of  text  to  the  page.  There  are  4  large 
miniatures. 

The  first  ten  leaves  contain  elaborate  borders  of  foliage,  scrolls,  ani- 
mals, birds,  and  figures,  in  brilliant  colours  heightened  with  burnished 
gold.  Folios  15,  99,  153,  and  240,  opposite  the  miniatures,  are  also 
elaborately  painted,  the  first  having  at  the  left  the  full-length  figure  of 
a  saint,  and  at  the  right,  small  heads  of  the  Virgin  and  ten  Disciples. 
Almost  every  page  contains  an  illuminated  initial  with  an  accompanying 
oriental  ornament  in  the  margin,  all  in  brilliant  colours. 

The  subjects  of  the  miniatures  are  the  four  Evangelists,  on  folios  14, 
98,  152,  and  239.  The  last  one,  of  St.  John,  is  a  curious  representation 
of  that  disciple  on  the  Island  of  Patmos. 

GOSPELS  IN  ARMENIAN.     About   1640. 

ito,  original  stamped  morocco  over  boards^  silk  ties. 

An  Armenian  manuscript  of  the  Four  Gospels  written  in  old  Arme- 
nian and  Armenian-Turkish,  both  in  Armenian  characters,  in  double 
columns  upon  bombycine  paper  about  1640,  probably  in  Constanti- 
nople.    213  X  157  mm. 

It  consists  of  412  leaves,  including  10  for  the  Calendar,  17  verso  —  26 
recto.    There  are  20  full-page  miniatures  on  a  ground  of  burnished  gold, 

14  beautiful  and  highly  decorative  borders  (10  in  the  Calendar  and  4  be- 
ginning the  Gospels),  76  small  miniatures  and  145  arabesque  ornaments, 
all  in  the  margins,  besides  numerous  grotesque  initials  and  gold  letters, 
in  the  later  Byzantine  style,  with  chromatic  Perso-Egyptian  decoration. 

The  subjects  of  the  large  miniatures  are  1.  (F.  1  v.)  The  Annuncia- 
tion. 2.  (F.  2  r.)  The  Adoration  of  the  Magi.  3.  (F.  3  v.)  The  Presenta- 
tion in  the  Temple.  4.  (F.  4  r.)  The  Baptism  of  Christ  by  John  the 
Baptist.  5.  (F.  5  v.)  Christ  surrounded  by  adoring  Saints.  6.  (F.  6  r.) 
The  Raising  of  Lazarus.  7.  (F.  7  v.)  Christ's  Triumphal  Entry  into 
Jerusalem.  8.  (F.  8  r.)  The  Last  Supper.  9.  (F.  9  v.)  Christ  wash- 
ing the  Disciples'  Feet.  10.  (F.  10  r.)  The  Betrayal.  11.  (F.  11  v.) 
Christ  bearing  the  Cross.  12.  (F.  12  r.j  The  Crucifixion.  13.  (F.  13  v.) 
The  Resurrection.     14.   (F.  14  r.)  Christ  blessing  the  Virgin.     15.   (F. 

15  v.)  The  Descent  of  the  Holy  Spirit.  16.  (F.  16  r.)  The  Last  Judg- 
ment. 17.  (F.  30  V.)  St.  Matthew.  18.  (F.  136  v.)  St.  Mark.  19. 
(F.  206  V.)  St.  Luke.    20.    (F.  324  v.)  St.  John. 


HAFIZ  213 

Among  the  subjects  of  the  small,  marginal  miniatures  are  (folio  31  r.) 
the  Virgin  and  the  Twelve  Apostles;  (folios  67  r.,  139  r.,  and  225  v.) 
Christ  casting  out  a  devil;  (folio  126  r.)  Judas  hanging  himself;  (folio 
209  V.)  the  Annunciation;  (folio  214  v.)  The  Announcement  to  the 
Shepherds;  (folio  327  v.)  St.  John  the  Baptist;  (folio  330  r.)  the  Mira- 
cle at  the  Marriage  of  Cana;  (folio  402  v.)  Christ  bearing  the  Cross. 

This  manuscript  is  a  fine  example  of  seventeenth  century  oriental 
art,  combining  the  characteristics  of  the  old  Byzantine  miniature  paint- 
ing with  the  gayer  chromatic  brilliancy  of  Perso-Egyptian  decoration. 

HAFIZ   (Shems-ud-Din  Mohammed). 

Divan.  XVIII  (?)  Century.  8vo,  in  a  Persian  lacquered 
binding  'painted  outside  and  inside  in  a  floral  design  of  colours 
and  gold.    In  a  brown  morocco  case. 

An  eighteenth  (?)  century  Persian  manuscript  written  upon  218  leaves 
of  bombycine  paper,  with  two  columns  to  the  page.    189  X  114  mm. 

The  first  two  pages  (folios  218  and  217)  are  surrounded  with  borders 
brilliantly  painted  in  blue,  red,  and  gold,  and  on  folio  207  is  a  full-page 
miniature  representing  a  centaur  attended  by  three  angels,  two  of  whom 
carry  flaming  hearts  painted  in  gold.  Every  page  is  illuminated  with 
floral  fillets  and  compartments  in  colours  on  a  gold  ground. 

HAFIZ   (Shems-ud-Din  Mohammed). 

Divan.  XVIII  Century.  Large  Svo,  in  the  original 
Persian  circuit  binding  of  dark  brown  morocco  stamped  and 
painted  in  gold,  doubled  with  maroon  morocco,  borders  and 
centre  ornaments  in  a  delicate  outline  design  of  black  upon 
blue. 

An  eighteenth  century  Persian  manuscript  written  in  two  columns 
upon  166  leaves  of  bluish  bombycine  paper  powdered  with  gold  within 
gold  lines.  The  first  two  pages  (folios  166  and  165)  and  the  beginning 
and  ending  of  the  volume  are  brilliantly  illuminated  in  gold  and  colours, 
blue  predominating.     245  X  158  mm. 


214  HAFIZ— INDIAN  MINIATURES 

HAFIZ  (Shems-ud-Din  Mohammed). 

Divan.  XVIII  Century.  12mo,  in  a  Persian  lacquered 
binding  painted  on  the  outside  and  inside  with  flowers  and 
foliage  in  red,  green,  and  gold.  In  a  modem  case  of  red 
levant  morocco. 

A  Persian  manuscript  of  Hafiz's  Poems  written  in  the  eighteenth  cen- 
tury in  double  columns  within  floral  borders  of  red  and  green  on  a  gold 
ground,  upon  225  leaves  of  bombycine  paper.    141  X  188  mm. 

The  two  preliminary  pages  have  beautiful  borders  painted  in  blue 
and  gold,  and  on  folio  218  verso  is  a  full-page  miniature  representing  the 
Creation. 

INDIAN  MINIATURES.     XVIII  (?)  Century. 

Folio,  in  a  beautiful  old  Persian  lacquered  binding  painted 
in  colours  heightened  with  gold,  and  divided  into  compart- 
ments containing  representations  of  the  deities,  e.  g.,  the  gods 
of  war  and  peace.  On  the  inside  of  the  front  cover  is  a  panel 
of  similar  nature;  the  edges  are  gilded. 

A  volume  of  27  Indian  paintings  of  various  religious  sects,  tribes* 
and  occupations  executed  upon  paper  within  borders,  and  accompanied 
by  guards  of  bombycine  paper  containing  descriptions  in  Persian. 
310  X  225  mm. 

Each  painting  has  two  figures,  usually  a  man  and  his  wife.  Among 
the  subjects  represented  are  a  torch-bearer,  a  grocer,  a  soldier,  a  coolie, 
musicians  and  a  nautch-girl,  a  silk-weaver,  a  leech,  a  goldsmith,  a 
snake-charmer,  and  costumes  worn  in  the  Mohammedan  Passion  Play. 

INDIAN  MINIATURES.     XVIII  (?)  Century. 

Folio,  dark  green  morocco  covered  with  a  design  of  fillets  in 
scrolls,  doubled  with  olive  morocco  tooled  in  a  similar  but 
more  elaborate  design,  gilt  edges,  by  J.  Mackenzie. 

A  volume  of  76  Indian  miniatures  beautifully  executed  upon  bomby- 
cine paper.    About  260  X  190  ram. 


INDIAN  MINIATURES  — KORAN  215 

The  subjects  include  domestic,  court,  battle,  amorous  and  religious 
customs  and  ceremonies,  acrobats,  snake-charmers,  musicians,  etc. 
From  the  collection  of  Sir  William  Jones. 

INDIAN  MINIATURES.     XVIII  (?)  Century. 

Large  folio  y  in  an  Indian  lacquered  binding  painted  in 
Indian  subjects. 

A  volume  of  27  Indian  miniatures  representing  types  of  India,  dancers, 
various  trades,  etc.,  each  painting  containing  a  man  and  a  woman. 

JANAM  PATRI.     XIX   Century. 

The  Sanskrit  horoscope  of  Raja  Jadurath  Sing,  one  of  the  rebels  in 
Oudh,  which  was  found  in  his  camp  when  captured  in  1858,  at  the  time 
of  the  Indian  Mutiny.  It  is  written  on  bombycine  paper  10^  inches 
wide,  within  borders  of  silver  and  colours,  and  forms  a  roll  almost  120 
feet  long. 

It  is  painted  in  brilliant  colours,  with  28  miniatures,  including  a 
representation  of  Gane9a  (18  X  6^  inches)  at  the  beginning,  and  the 
Signs  of  the  Zodiac  (about  8^  X  6  inches),  beginning  with  Aquarius; 
also  95  tables  of  calculation,  23  astrological  diagrams  within  floral 
borders,  and  2  remarkable  diagrams  of  the  solar  and  lunar  cycles,  in 
which  the  idea  of  termination  is  expressed  by  the  trident  of  ^iva. 

JAPANESE   DRAWINGS.     XVIII   Century. 

Folio,  old  panelled  calf. 

A  series  of  48  Japanese  water-colour  drawings  upon  paper  depicting 
national  costumes,  with  household  implements,  swords,  etc.,  painted 
below  them.  Among  the  subjects,  of  which  15  are  women,  are  court 
officers  and  their  wives,  princes,  generals,  common  soldiers,  elephant- 
drivers,  king's  merchants,  boatmen,  Brahmans,  and  a  dancing-girl. 

KORAN    (Part  XXX).     XV   Century. 

Folio,  in  a  Persian  paper  binding. 

An  Arabic  manuscript  of  the  Thirtieth  Part  of  the  Koran,  written  in 
the  fifteenth  century,  in  large  gold  characters,  5  lines  to  the  page,  upon 
44  leaves  of  bombycine  paper.    287  X  210  mm. 


216  KORAN 

On  folios  43  verso  and  44  recto  are  two  beautifully  painted  borders 
in  blue  and  gold;  on  the  margins  throughout  the  volume  are  32  large 
circular  blue  and  gold  ornaments,  and  in  the  text,  128  of  smaller  size. 

KORAN    (Part  XXX)  XV  (?)  Century. 

Folio,  in  an  old  Persian  binding  painted  in  dark  brown 
and  goldy  and  rubbed. 

An  Arabic  manuscript  of  the  Thirtieth  Part  of  the  Koran  written  upon 
68  leaves  of  bombycine  paper,  with  8  beautifully  illuminated  pages  in 
blue  and  burnished  gold,  and  3  similar  ornamental  head-bands.  355  X 
218  mm. 

KORAN.     XVIII   Century. 

SvOy  in  an  exquisite  Persian  la<;quered  binding  painted 
outside  and  inside  with  flowers  in  gold  and  colours,  and  with 
painted  edges.    In  a  cashmere  wrapper. 

An  exquisite  Arabic  manuscript  written  upon  324  leaves  of  bomby- 
cine paper  on  a  gold  ground  within  borders  of  gold  and  blue,  with 
Persian  interlinear  translation  written  in  red.    215  X  125  mm. 

There  are  10  elaborately  illuminated  pages.  111  ornamental  bands 
in  blue  and  gold  in  the  text,  102  large  marginal  ornaments  in  the  same 
colours,  and  numerous  other  designs  in  red,  blue,  and  gold  upon  every 

This  manuscript  is  one  of  the  finest  possible  examples  of  its  class. 

KORAN.    XVIII   Century. 

Folio,  in  an  elaborate  Persian  lacquered  binding  painted 
outside  and  inside  with  flowers  in  gold  and  colourSy  and 
covered  by  an  Oriental  silk  wrapper. 

A  superb  Arabic  manuscript  of  the  Koran  beautifully  written  between 
ornamental  gold  Unes  upon  bombycine  paper  in  the  eighteenth  century. 
306  X  190  mm. 

All  of  the  390  leaves  have  beautiful  wide  borders  of  flowers  and 
foliage  in  gold,  and  on  folios  386-390  are  six  extremely  fine  illuminated 


KORAN  217 

pages  with  rich  borders  in  gold  and  colours.    The  ornaments  and  head- 
ings of  chapters  are  also  exquisitely  illuminated. 

This  manuscript  is  a  magnificent  specimen  of  oriental  calligraphy 
and  illumination. 

KORAN.    XVIII  (?)  Century. 

FoliOy  in  an  old  Persian  circuit  binding  of  brown  and  red 
morocco  with  borders  and  panels  of  stamped  gold,  doubled 
with  red  morocco  having  ornaments  stamped  in  gold.  In  an 
oriental  red  cloth  wrapper. 

A  superb  Arabic  manuscript  of  the  Koran  written  upon  577  leaves  of 
bombycine  paper  between  gold  lines  and  within  borders  of  gold,  blue, 
and  red,  about  the  eighteenth  century.    290  X  186  mm. 

It  contains  17  exquisitely  painted  borders  and  numerous  marginal 
ornaments  in  blue  and  gold. 

KORAN.    XVIII   Century. 

S-uo,  in  an  old  Persian  circuit  binding  of  brown  morocco 
with  sunken  panels  ornamented  with  raised  flowers  and 
foliage  in  dull  gold,  doubled  with  crimson  morocco  having 
corner  and  centre  ornaments  in  a  scroll  pattern  cut  out  and 
attached  to  a  blue  ground. 

An  Arabic  manuscript  of  the  Koran  written  in  small  characters  of 
black  and  red  within  gold  fillets  upon  366  leaves  of  bombycine  paper 
in  the  eighteenth  century.    185  X  120  mm. 

The  four  preliminary  pages  have  borders  exquisitely  painted  in  blue  and 
gold,  and  there  are  numerous  marginal  ornaments  in  the  same  colours. 

KORAN.     XVIII  (?)  Century. 

Svo,  in  a  Persian  lacquered  binding  painted  on  the  outside 
and  inside  in  borders  and  panels  of  flowers. 

A  beautiful  Arabic  manuscript  of  the  Koran  written  upon  bombycine 
paper  within  ornamental  gold  lines  and  double  gold  borders,  between 
which  are  ornaments  in  blue  and  gold.    233  X  144  mm. 


218  KORAN  — PERSIAN  MINIATURES 

It  consists  of  222  leaves,  with  17  lines  to  the  page.  Six  pages  have 
rich  borders  of  Persian  design  painted  in  blue  and  gold  outlined  in  rose 
with  narrow  floral  borders  immediately  surrounding  the  text. 

KORAN.     1817. 

Small  4to,  old  Persian  circuit  binding  of  red  morocco  with 
sunken  ornaments  in  gold  in  the  centre  ana  corners. 

An  Arabic  manuscript  of  the  Koran  written  in  small  characters  upon 
304  leaves  of  bombycine  paper  in  the  year  of  the  Hejira  1233  (1817 
A.  D.).     176X116  mm. 

It  is  written  within  borders  of  shaded  gold  with  numerous  marginal 
ornaments,  and  the  two  preliminary  pages  are  painted  in  gold  and 
colours. 

NUSHIRVAN. 

8vOy  in  a  Persian  lacquered  bindingy  painted  outside  and 
inside  with  orchids,  roses,  and  nightingales.  In  a  red  mo- 
rocco case. 

A  beautiful  Persian  manuscript  of  Nushirvan's  "  Rissalah,"  a  treatise 
upon  mysticism  and  poetry,  written  upon  bombycine  paper  on  an  or- 
namental gold  ground  within  lines  of  gold  and  colours  by  Mohammed 
Isma'el  al  Shirazi,  in  the  year  1234  of  the  Hejira  (1818-1819  A.  D.). 
196  X  127  mm. 

It  contains  13  miniatures  carefully  painted  in  delicate  colours  and  8 
pages  with  elaborate  borders  in  blue,  red,  and  gold. 

PERSIAN   MINIATURES.     XVIII   Century. 

Small  folio,  old  oriental  binding  of  red  morocco  with  gilt 
ornaments  stamped  in  the  centre  and  on  the  sides,  doubled 
with  red  morocco,  gilt  edges. 

A  volume  containing  54  Persian  miniatures  of  rulers,  women,  eques- 
trians, court  and  domestic  scenes,  alternating  with  25  pages  of  ex- 
planatory text  and  33  paintings  of  flowers  in  brilliant  colours  and  gold. 
188  X  203  mm.  All  of  the  miniatures  are  remarkable  for  their  beauty 
and  elaborate  design. 


PERSIAN  AND  PERSO-INDIAN  MINIATURES       219 

PERSIAN  MINIATURES.    XVIII  (?)  Century. 

Large  4to,  old  English  red  straight-grain  morocco  tooled 
in  panels  and  corner  ornaments,  gilt  edges,  by  Hering. 

A  volume  of  28  finely  executed  Persian  miniatures  representing  do- 
mestic, religious,  amorous,  battle,  and  musical  scenes,  including  rajahs, 
holy  men,  dancers,  etc.  The  average  size  of  each  painting  is  about 
230  X  170  mm. 

PERSIAN   MINIATURES.    XVIII   Century. 

Large  4to,  in  an  elaborate  Persian  lacquered  binding  painted 
on  the  outside  with  flowers  in  maroon  and  green  outlined  with 
gold  on  an  ivory  ground,  on  the  inside  in  citron  borders  and 
centre  ornaments  in  gold.    In  a  red  Persian  silk  wrapper. 

A  series  of  12  exquisitely  painted  Persian  miniatures  backed  with 
green  silk.     335  X  250  mm. 

They  represent  women,  court  scenes,  landscapes,  etc.  Four  are 
within  borders  of  gold  and  colours. 

PERSIAN  MINIATURES.    About  1820. 

Folio,  in  a  Persian  lacquered  binding  painted  on  the  out- 
side with  court  scenes  and  on  the  inside  with  flowers  in  bril- 
liant colours  and  gold.    In  a  red  silk  wrapper. 

A  series  of  24  large  brilliantly  executed  Persian  miniatures  (180  X  100 
mm.)  apparently  representing  Fath  Ali  Shah  at  various  ages  and  the 
members  of  his  family  and  court,  painted  in  Isfahan(?),  Persia,  by  a 
native  artist  on  a  series  of  attached  leaves. 

This  is  a  fine  example  of  modern  Persian  art. 

PERSO-INDIAN   MINIATURES.     XVIII   Century. 

Folio,  in  a  rich  Persian  lacquered  binding  painted  outside 
and  inside  with  conventional  flowers  and  foliage,  gilt  edges. 

A  volume  of  60  brilliantly  painted  Indian  and  Persian  portraits 
largely  of  the  Mogul  dynasty,  women,  and  dervishes,  executed  upon 


220  PERSO-INDO-MONGOL  MINIATURES 

bombycine  paper  with  perfection  and  elaboration.  Each  miniature  is 
surrounded  with  a  border  in  gold  and  colours,  and  upon  the  backs  of 
all  of  them  are  elaborately  written  poems.    303  X  226  mm. 

In  addition  to  the  portraits  are  paintings  illustrating  various  subjects, 
e.  gr.,  the  releasing  of  Joseph  from  the  pit,  a  hunting  scene  (nos.  43  and 
44),  etc.  At  the  end  of  the  volume  is  a  list  of  the  paintings,  elaborately 
written  upon  vellum. 

PERSO-INDO-MONGOL  MINIATURES.  About  1810. 
S-yo,  mounted  in  folio  form,  in  three  cases  of  blue  levant 
morocco. 

One  hundred  and  seven  miniatures  of  Persian,  Indian,  and  Mongo- 
lian subjects  beautifully  painted  within  borders  in  the  Mohammedan 
year  1225   (about  1810)  and  mounted  upon  cardboard. 

Accompanying  them  are  six  pages  of  description  in  Persian,  dividing 
them  into  six  groups :  — "  Therefore  his  Majesty  Shahinshah,  whose 
court  is  like  the  sky,  his  highness  as  the  heavens,  and  his  manzil  like  the 
sun,  who  is  the  sum  total  of  justice  and  conquest,  the  band  of  the  book 
of  benignity  and  the  world-adorner,  the  irrigator  of  the  evergreen  rose- 
garden  of  Mohammedan  religion,  the  gardener  of  the  meadow  of  the 
everlasting  nation  and  the  ray  of  divine  grace,  Tipu  Sultan,  the  warrior 
Padishah  —  may  God  make  perpetual  his  country  and  kingdom !  — 
collected  the  pictures  of  various  women  [the  scattered  pictures  of  his 
predecessor  Sultans,  the  pictures  of  the  Amirs  that  were  scattered  be- 
fore, the  scattered  pictures  of  famous  individuals,  empresses,  and  the 
Amirs  of  the  cities  and  country]  and  he  ordered  that  they  should  be  bound 
and  banded."  — Translated  by  Dr.  Abraham  Yohannan. 

Most  of  the  miniatures  contain  at  the  top  descriptions  in  Persian. 
They  include  four  portraits  of  Chand  Bibi,  princess  of  Ahmadnagar, 
hawking.  Amir  Taimur  Shah  (Tamerlane),  the  Persian  hero  Rustan 
hunting,  "Her  Excellency  the  Lady  Mary  and  Jesus,"  "His  Holiness 
Abraham,"  jugglers,  athletes  and  Persian  women  acrobats  forming 
a  horse. 

On  one  of  the  paintings  of  Shlrin,  wife  of  Khosrov,  appears  the  name 
of  the  artist,  Mirza  Burhan  Beg. 


PORTRAITS— ROMANTIC  TALES  221 

PORTRAITS  OF  PERSIAN  KINGS.  Early  XIX 
Century. 
Small  jolio,  in  a  beautiful  Persian  binding  of  bronzed  gilt 
painted  outside  and  inside  with  flowers,  and  with  figures  of 
the  Virgin  and  Child  in  the  centre  of  both  covers.  In  a  blue 
morocco  case. 

A  nineteenth  century  Persian  manuscript  of  portraits  of  Persian  kings, 
of  various  dynasties  of  Iran,  legendary  and  historic,  with  extracts  from 
Shah  Mohammed-al-Mashhedi  and  other  sixteenth  century  poets 
deUcately  executed  upon  30  folding  leaves  within  illuminated  borders 
on  grounds  of  different  colours,  upon  14  of  which  are  exquisitely  painted 
miniature  portraits  of  Persian  heroes  and  princes. 

This  interesting  manuscript  was  in  the  Bindings  Exhibition  of  the 
Burlington  Fine  Arts  Club. 

ROMANTIC  TALES.    About  1800.     (Hejira  1214). 

Folio,  in  the  original  Persian  circuit  binding  of  dark  brown 
morocco  with  border  and  central  panels  stamped  in  gold, 
doubled  with  light  brown  morocco  with  gold  ornament  in  the 
centre.    In  an  oriental  silk  wrapper. 

A  magnificent  Persian  manuscript  of  tales  of  adventure  (325  X  215 
mm.)  written  upon  188  leaves  of  bombycine  paper  within  borders  of  gold 
and  colours  and  illuminated  with  60  large  paintings,  some  of  full-page 
size  and  some  in  two  compartments.  The  text  of  the  first  two  pages 
(folios  188  and  187)  is  written  within  ornamental  gold  lines.  The  first 
leaf  (folio  188)  is  richly  painted  in  colours.  The  subjects  of  the  paintings 
include  battle  scenes  (folios  5,  67,  88,  and  160),  court  scenes  (folios  6, 10), 
boating  parties  (folios  45  and  157),  a  sea  fight  (folio  48),  garden  scenes 
(folios  52,  98,  113,  135,  138,  148,  151,  175),  a  royal  procession  (folio  57), 
bathing  scenes  (folios  82  and  183),  hunting-scenes  (folios  127  and  179), 
and  the  killing  of  a  giant  (folio  131). 

This  manuscript  formerly  belonged  to  the  King  of  Delhi. 


222  SHAHA  LI  —  TASHRIH-UL-AKWAM 

SHAHALI,  Sahib  of  Delhi. 

Bostan-ul-Mohaddithin.  [About  1770].  Svo,  in  a  superb 
mosaic  binding  of  Persian  design  in  dark  and  lighter  blue, 
green,  citron,  red,  and  ivory  morocco  delicately  tooled  in  small 
ornaments,  doubled  with  a  mosaic  pattern  in  panels  of  ivory, 
citron,  and  blue  morocco  with  floral  tools  in  gold  and  small 
red  flowers,  oriental  red  silk  guards,  gilt  edges,  by  The  Club 
Bindery;  Leon  Maillard,  finisher. 

A  beautiful  Persian  manuscript  of  Shahali's  "Garden  of  Tradi- 
tionaries"  written  within  gold  and  coloured  borders  upon  131  leaves 
of  bombycine  paper.     221  X  147  mm. 

The  first  two  and  the  last  two  pages  have  rich  borders  of  gold  and 
colours  and  interlineations  in  gold. 

Inserted  are  two  modern  water-colour  drawings  of  flowers. 

TASHRIH-UI^AKWAM.     1825. 

Folio,  blue  morocco,  the  arms  of  John,  Earl  of  Clare,  on 
both  sides,  gilt  edges,  by  Charles  Lewis.  In  a  blue  morocco 
case. 

A  Persian  manuscript  of  an  historical  account  of  the  different  castes 
and  occupations  of  Hindustan,  beginning  with  Vishnu,  written  upon 
418  leaves  of  fine  bombycine  paper  within  borders  of  gold  and  colours 
and  illustrated  by  122  delicately  and  beautifully  painted  full-page  minia- 
tures representing  the  castes  and  their  occupations.    318  X  213  mm. 

The  subjects  include  musicians,  archers,  camel  and  elephant  drivers, 
weapon-makers,  goldsmiths,  wine  and  fruit  merchants,  rug,  pottery, 
garment,  and  toy  makers,  snake-charmers,  trench-diggers,  physicians, 
weavers,  gardeners,  tight-rope  walkers,  dancers,  carpenters,  brick- 
layers, wrestlers,  fishers,  hunters,  brush  and  slipper  makers,  sailors, 
scribes,  goat  herds,  bear-tamers,  etc.  Plate  CXVIII  is  a  brilliantly 
painted  portrait  of  the  King  of  Oude;  CXVII  is  of  Akbar  the  Great, 
and  is  surrounded  by  a  rich  border  in  gold  and  colours. 

Executed  in  1825  and  presented  to  Sir  John  Malcolm  (d.  1833),  the 
historian  of  Persia  and  India.     From  the  collection  of  Lord  Clare. 


YUSSUF  AND  ZULAIKHA  223 

YUSSUF   AND   ZULAIKHA.     XVIII-XIX   Century. 

Small  folio,  in  a  Persian  binding  of  red  morocco  stamped 
in  ornaments  forming  panels  and  painted  in  gold  and  colours. 

A  beautiful  Persian  manuscript  of  the  romance  of  Yussuf  (Joseph) 
and  Zulaikha  written  upon  176  leaves  of  bombycine  paper,  two  columns 
to  the  page,  within  borders  of  gold  and  blue,  at  the  end  of  the  eighteenth 
or  the  beginning  of  the  nineteenth  century.     268  X  146  mm. 

The  preliminary  pages  are  elaborately  decorated  and  there  are  43 
brilliantly  coloured  miniatures. 


ADDENDUM  TO  PART  II 

COLERIDGE,   Samuel  Taylor. 

Osorio,  a  Tragedy.  1797.  4to,  half  green  levant  morocco, 
gilt  top,  uncut  edges,  by  Pratt. 

The  original  manuscript  of  "  Remorse,"  written  by  Coleridge  at 
Sheridan's  request.  It  was  sent  to  Drury  Lane  Theatre  in  October, 
1797,  but  was  not  accepted,  and  remained  there  until  the  fire  of  1809, 
when  it  was  one  of  the  few  objects  saved.  Rewritten  under  the  title 
"  Remorse,"  the  play  ran  for  twenty  nights. 

The  manuscript,  which  is  not  in  Coleridge's  handwriting,  covers 
the  rectos  of  104  leaves  of  Holland  paper  (9j^g  X  7|  inches),  between 
each  two  of  which  are  one  or  more  blank  leaves  for  annotations  and 
portions  of  the  printed  drama.  There  appears  to  be  but  one  trace 
of  the  poet's  revising  pen,  —  on  folio  51,  where  the  word  superstitious 
is  marked  through  with  ink,  and  serious  substituted  in  an  entirely 
different  hand. 

Probably  no  complete  autograph  manuscript  of  "  Osorio  "  exists. 


INDEX   OF   THE  NAMES  OF  MINIATURISTS, 
ILLUMINATORS   AND    SCRIBES 


ATTAVANTE. 

See  Petrarca,  page  160. 

AVRIL,   Paul. 
See  page  177. 

BAROCCI,   Federigo. 

See  Bonaventura,  St.,  page  10. 

BEDFORD   MISSAL  (School  of). 
See  Horae,  pages  33,  178. 

BOUTON,  V. 

See  pages  179,  194. 

BRUOLIO,   Johannes  de. 
See  Horae,  page  100. 

BURHAN,  MiRZA. 
See  page  220. 

BURRUS,  MiLANus. 
See  Suetonius,  page  168. 

CHAUVET,  J.  A. 
See  Denon,  page  183. 

CLOVIO,  GiULio. 
See  pages  14,  193. 

COSTELLO,  Dudley. 

See  Voeux  du  Heron,  page  203. 

FOUCQUET,  Jehan. 
See  Horse,  page  89. 

Missale     Ecclesiae     Turonensis, 
page  140. 


GHIRLANDAJO. 

See  Officium,  page  150. 

GIGOLA,  Giovanni  Battista. 
See  da  Porto,  page  195. 

GRANATA,  Josef. 

See  Terentius,  page  173. 

HOREBOUT,  Gerard. 
See  Horse,  page  108. 

JARRY,  Nicolas. 

See  pages  185,  189-191,  196. 

LECLABART,  Jacques  Fucien. 
See  pages  179,  186. 

LUCCIUS,  Annibal. 
See  Terentius,  page  173. 

MANTEGNA,  Andrea  (School  of). 
See  Petrarca,  page  159. 

MEMLING,  Hans. 

See  Horse,  pages  68,  104. 

MEMLING,  Hans  (School  of). 
See  Horse,  pages  104,  115. 

MIDOLLE,  Henry. 

See  Ballades  Fran9aises,  page  178. 

REMBERT,  Ferdinand. 
See  pages  197,  198. 

ROUSSELET. 

See  pages  196,  199. 


230 


INDEX    OF   NAMES 


SANI,  ViviANi. 

See  Biblia  Sacra  Latina,  page  7. 

SHAHABI,  Shah  Hussain. 
See  Abd-ul-Rahman,  page  207. 

SHIRAZI,  Mohammed  Isma'el  al.. 
See  Nushirvan,  page  218. 

SISMONDI,    SiGISMUND    DE. 

See  OflScium,  page  147. 

TARRANUS,  Jacopo. 
See  OflBcium,  page  145. 

TORY,  Geofroy. 
See  Horse,  page  115. 


TOURAINE  (School  of). 

See  Horse,  pages  42,  57,  82,  84,  89, 
94. 
Missale      Ecclesise      Turonensis, 

page  140. 
Missel  de  Charles  VI,  page  137. 

VAN  EYCK   (School  of). 
See  Horse,  page  65. 

VICOMERCHATO,     Guinifortus 

DE. 

See  Scribe's  Sample- Book,  page  167. 

WYDON,  FRAN901S. 
See  Horse,  page  118. 


45  5 


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